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Soundzipper Brand Guidelines PDF
Soundzipper Brand Guidelines PDF
TABLE OF CONTENTS.
3 4 6 6 8 11 12 15 16 17 20 FONT WEIGHT AND TRACKING 22 READY-MADES IN GLORIOUS TECHNICOLOR. KEEPING IT BALANCED ACOUSTICS ILLUSTRATED. ILLUSTRATION GUIDELINES 24 26 28 30 32 BODY COPY AND SUBHEADINGS 49 ONE MORE FOR ADDED CLASS 53 MAKING SENSE OF IT ALL. SLOGANS & SUBHEADINGS PROTECTION AREAS MINIMUM ACCEPTABLE SIZE USE OVER BACKGROUNDS WHAT NOT TO DO EXAMPLE APPLICATIONS GETTING IN TOUCH. 56 58 60 62 63 64 68 80
THE SOUNDZIPPER BRAND. TABLE OF CONTENTS. INTRODUCING SOUNDZIPPER. HOW DID WE GET HERE? HERES TO A BRAND NEW FACE AND A MATCHING TYPE(FACE) ALL TOGETHER NOW BUILDING OUR LOGO. COMMON VARIATIONS CONSTRUCTION RULES MARK STROKE WEIGHT
BEHAVIOR ON BACKGROUNDS 36 COMBINING ILLUSTRATIONS ILLUSTRATION ARCHIVE SAY IT IN WRITTING. CORPORATE FONT 38 43 45 46
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
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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 a very complete and fine-tuned family of fonts, suitable mainly for large type, in both digital and print use. Its what well be using for our logotype, titles and very big applications (like the one right there to the left, see?). Dont worry, though, it can serve other purposes as well tread lightly, be sure to follow our advice and youll be just fine! EXTRA LIGHT EXTRA LIGHT ITALIC LIGHT LIGHT ITALIC BOOK BOOK ITALIC BOLD BOLD ITALIC BLACK BLACK ITALIC VERLAG FAMILY
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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 would make the logo heaps better, but it isnt accounted for in this list, you can safely assume we dont want you to do it, so please dont. Some of these variations are, as youll learn, linked together. For example, everytime you mess around with the logos scale, it might be a good idea to make sure the strokes weight is adjusted accordingly. As a general rule, we could say our logotype has two different versions: horizontal and vertical, the first one of which comes in two flavors: large and small. To design one from scratch, we start out by defining the size of the type, and then scale and position the mark accordingly, following these rules... TEXT SIZE FONT WEIGHT POSITION TRACKING POSSIBLE TYPE VARIATIONS SCALE STROKE WEIGHT POSITION POSSIBLE LOGO VARIATIONS
CONSTRUCTION RULES
5x x
8y
LARGE HORIZONTAL LOCK-UP Marks diameter should be 8x the height of the capital E; The horizontal space between mark and type should be 5x the width of the capital E; Both elements vertical centers should be aligned across an horizontal axis. 17
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8y
2x
8y
3y
3y y
SMALL HORIZONTAL LOCK-UP Marks diameter should be 3x the height of the capital E; The horizontal space between mark and type should be 2x the width of the capital E; Both elements vertical centers should be aligned across an horizontal axis.
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
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0.5pt
0.75pt
1pt
2pt
3pt
4pt
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wonderful work, so heres the deal: if youre really, really cautious with our baby, you can go ahead and tweak the tracking a little bit and, if you really feel like theres absolutely no other way, you can even bring the text weight up or down a little bit. Of course, there are a few rules. First of all, you cant do this for really large applications, or situations where the logo is being shown for the first time or any application in which the Soundzipper logo plays a central role (e.g. business cards, social media profiles, our own website, etc.) Secondly, you should only manipulate the tracking, and not the spacing between each individual character (also known as kerning). And, finally, to ensure the final result is within the limits of brand recognition, you should only use combinations of font weight + tracking within the following chart:
VERLAG BOOK
VERLAG BOOK
VERLAG BOLD
VERLAG BOLD
VERLAG BLACK
VERLAG BLACK
120 140
120N D SZ O IP UP NE D RZ I P P E SR OUND SZ OIU PN PE DR ZIPPER SOU S Z O IP UP N ED R Z I P P ES RO U N D SOU 140 N D SZ O IP UP N ED RZ I P P E SO SZ OIU PN PD ER ZIPPER SR OUND SZ OI U PP NE D R ZIPPE R UND SOU 160 N D SZ O IU PP NE D RZ I P P E SR OUND SZ OIU PN PE DR Z I P PS EO RUND SO ZI U PN PD ER ZIPPER SO ZI U PN PD EZ RIPPER SOU SZ OI U PP NE DR Z I P PS EO R UND SO Z IU PN PD ER Z I P PS EO RU N D 180 N D SOU SZ OIU PN PE DR Z I P PS EO RUND SO Z IU PN PD ER ZIPP SE O RU N D SO ZU IP N PD EZ RI P P E R 200 N D
TRACKING
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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 you need your way. This works pretty much like a mail order catalog: just have a look at these logos and, if it looks like any of them fits your needs, feel free to go ahead and use it. Please be reminded, however, that you cannot tweak them in any way (except, maybe, adjusting the scale ever so slightly, obviously making sure not to change the aspect ratio), and that their use must still adhere to the rules defined further down on this document. VERTICAL Youll find our contacts in the last couple of pages of this document. WHEN TO USE > Total logo width is between 200px and 400px OR it is not possible to ensure a sufficient amount of white space around the logo. WHEN TO USE > Total logo width is smaller than 100px. REF. HS REF. HXS
SOUNDZIPPER
HORIZONTAL REF. VL REF. HL WHEN TO USE > WHEN TO USE > Total logo width is larger than 400px AND the brand protection area is at least equal to the diameter of the circumference. Total logo width is larger than 100px AND the brand protection area is at least equal to the radius of the circumference. WHEN TO USE > Total logo height is smaller than 100px OR it is not possible to ensure a sufficient amount of white space around the logo. 25 REF. VS
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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. It doesnt rhyme, but its true nonetheless.
SULFUR BEIGE PANTONE: 50/50 7548 C + White HEX : #FFF0A6 R: 255 G: 240 B: 166 C: 1 M: 2 Y: 43 K: 0
LIGHT IVORY PANTONE: 70/30 4545 C + White HEX : #E3D9BA R: 227 G: 217 B: 186 C: 11 M: 11 Y: 28 K: 0
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KEEPING IT BALANCED
CLAY BROWN 10% DARK NUT BROWN 15% Good for subtle text highlighting, Good choice as a complementary color to yellow highlights. especially on white backgrounds.
Heres the deal: if were to enforce our brand through color-use, we need to make sure we keep some level of hierarchy. This means we need to make sure certain colors are regarded as really important, and should be used whenever possible, while others provide ways for us to introduce balance and contrast, but should be used sparingly. To help you make sense of all of this, we created this useful infographic, thats supposed to help you understand the relation between these different colors . The bigger the circle, the more you should try to use its color in our visual communication. The closer the circles, the more you can combine their colors. BLACK 25% First choice for text color and illustration stroke. Great for backgrounds and as first choice for highlighting text and titles. Number one choice for illustration detail highlighting. YOLK YELLOW 30%
SULFUR BEIGE 10% Nice to use as a light background LIGHT IVORY 10% Potential choice for background highlighting. for highlighted areas. It should go without saying, but whites our main choice for backgrounds especially if you intend to use text. 29
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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, quasi-metaphorical visual grammar.
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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 social networking, a like hand is nice, a network of computers is ok if slightly meh , a collage of social networks logos is a major no) or technical depictions (e.g. actual audiowaves extracted from a digital sound file to represent sound). If you need one rule of thumb, this would be it: simple, stripped-down, duotone depictions of real-world objects used as simple metaphors, with clear relations to the subject matter. To make it even clearer, lets have a look at some examples. These are all actual illustrations were using for several communication materials, and are all included as fully editable vector files, that you can use as visual reference and even as starting point for your own creations. Spelling out any word and calling it an illustration is, of course, not ok!
HEADPHONES Universal symbol for studio-quality audio and a tool under any audiophiles (i.e. our clients) belt.
No matter how complex the objects were depicting are, illustrations should always be completely flat and bidimensional. This means no shadows, blurs, bevels, reflections and absolutely no tridimensional views. 33
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LIGHT BULB An acceptable (if slightly clich) metaphor for ideas and creativity in general. Black, mediumweight stroke, with white fill (even on white backgrounds).
Every object should have at least one detail in yolk yellow. Depending on the size of the object, more than one detail could be highlighted. As a general rule, between 5% to 10% of the entire object should have a yellow background. Make sure theres consistency in both form and size of all objects. This is particularly important for objects with curves. 35
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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.
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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.
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2. GET A GRIP ON THAT SPACING Try not to leave objects randomly flying around on the page (or screen, mind you). Its better that you make everything tidier by having all of the objects equally spaced from each other. Check the mad spacing skills of the designer who put together the one to the right...
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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 everyone, weve put together an illustration repository, from which you can download objects weve needed in the past, to use however you see fit. You can even upload your own, in case you really couldnt find that mic you were looking for... Access to the repository is, for obvious reasons, limited, so please contact Soundzippers graphics department and theyll be happy to set you up with a password to access our wonderful world of flat, yellow-ish acoustics. 3. SPICE IT UP JUST A LITTLE BIT To make things just that little bit more interesting, we suggest you consider adding these nice little shapes wherever you think they fit. Because they help disrupt the illustration symmetry, they ensure a more interesting composition. We dont want to shut your creativity down or anything, but we ran some tests and think circles and squares work best. 43 We feel this should almost go without saying, but here goes anyway: use of these illustrations is exclusively granted for the purpose of portraying Soundzippers brand within its own (or its partners) official communications. In fact, we even think reusing illustrations on different communication materials helps reinforce brand recognition, so dont feel bad about it...
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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. Dont take it literally screaming is rude.
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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.
Verlag Extra Light & Extra Light Italic
Sixty zippers were quickly picked from the woven jute bag.
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When using Verlag for headings, we think it works better if you use all caps, or capitalize sentences (not words). Were not just being picky: because Verlag has a relatively small x-height, mixing upper and lowercase a lot causes sentences to produce uneven shapes, that look unbalanced and, most of the time, require the brain to work harder to read the text. x-height is the value used to define the lower-case characters height, and is usually defined by the height of the lowercase x.
Sixty Zippers Were Quickly Picked From the Woven Jute Bag
This is nasty. Theres a huge contrast between upper and lowercase characters heights, so stay away.
Sixty zippers were quickly picked from the woven jute bag
Thats nice. Theres a very tall capital S at the start, but the sentence is, overall, very balanced.
One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided by arches into stiff sections.
Lato Hairline
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As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect. He was lying on his hard, as it were armor-plated, back and when he lifted his head a little he could see his domelike brown belly divided into stiff arched segments on top of which the bed quilt could hardly stay in place and was about to slide off completely. His numerous legs, which were pitifully thin compared to the rest of his bulk, waved helplessly before his eyes. What has happened to me? he thought. It was no dream. His room, a regular human bedroom, only rather too small, lay quiet within its four familiar walls. Above the table on which a collection of cloth samples was unpacked and spread outSamsa was a traveling salesmanhung the picture which he had recently cut out of an illustrated magazine and put into a pretty gilt frame.
Lato Light
Lato is a pretty nice fit for most informational text or body copy, and it could just as well be used for subheadings. Besides the very text youre reading (which is set in Lato Regular), here are some other examples, to get you going...
THIS IS A HEADING
It works fine with this sub-heading
Nice contrast and hierarchy: heading is larger and Lato Bold & Bold Italic heavier than the sub-heading...
This is a heading
IT LOOKS KINDA AWFUL
Lato Black & Black Italic All messed up! Sub-heading is not only heavier than the heading, making it all-caps draws attention to it first, when it should be the other way around.
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As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect.
This body copy looks real nifty. Its set in Lato Regular, with 1.5x spacing (in this case, 12pt spaced at 18pt).
As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect.
you cant occasionally use it in print. It shouldnt be used for small body copy or any body copy at all, for that matter. It shines as an occasional stylistically complement to the rationality of our sans serifs, and it can even be mixed and matched with them, if used carefully.
This one, spaced at 2x (12/24pt) barely holds itself together. Notice how the sidenote is starting to mess up the composition. This is acceptable, just as long as elements around the text are not closer to it than lines are between each other.
As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect.
Setting text with any line-spacing below 1.5x is definitely a major no.
Grumpy wizards make toxic brew for the evil Queen and Jack.
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Grumpy wizards make toxic brew for the evil Queen and Jack. Grumpy wizards make toxic brew for the evil Queen and Jack.
Use Playfair sparingly, and only in very specific use Playfair Display Bold & Bold Italic cases quotations, large slogans, headings or tiny details come to mind.
SOUNDZIPPER
&&&
HERES SOUNDZIPPER
Ouch! We did say contrast is nice, but this is just ridiculous. Tone it down a little bit, please. Also, dont use Playfair in all-caps especially in italic! Ugh...
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Slogan should be set in Lato Italic, at a rate of 2/3 the main face (in the example, Soundzipper is set at 24pt and slogan at 16pt) and spaced at 1.5x the height of a capital M set in Lato. Same rules apply for the vertical version. Making life sound better
SOUNDZIPPER
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PROTECTION AREAS
Our brand is sensitive, so wed appreciate it if you could give it some space to breath. When using it next to text, images or other logos, you can make sure ours is comfortable by keeping a safe distance. And the rules are simple: you should keep a distance equivalent to the marks radius from the outermost point on each side, regardless of the logo version youre using.
LOGO
LOGO
LOGO
LOGO
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SOUNDZIPPER
20mm 60px
34mm 80px
If the photo has such a hue and contrast variation, that you cant seem to find a way to add our logo, you may add a background frame, at least the size of the logotypes protection area (see page 60).
Please bear in mind that, at such a small scale, you should always use the S (REF. VS) version of the vertical lockup and the XS version (REF. HXS) of the horizontal lockup. If you have no idea what were talking about, please refer to the Ready Mades section on page 24. 63
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WHAT NOT TO DO
Were fairly flexible with our brand, but theres some stuff you simply shouldnt do.
soundzipper
Do not set our name in any font other than Verlag (not even our two other official fonts) nor in lower-case.
soundzipper
Do not stretch our logo or change its proportions in any way. If you need to change the size, make sure it scales proportionally.
Do not mix colors; logo and type should be the exact same color at all times.
soundzipper
soundzipper
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Do not use a logotype scale ratio not covered under Construction Rules (page 17).
Do not rotate, skew or otherwise distort the logo shape or the type in any way.
Because orientation is important to decoding the logo, Do not create an outline around the logo or type.
soundzipper
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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.
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NEXT SPREAD > Brand guidelines book, business card, letterhead and folder
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GETTING IN TOUCH.
GENERAL ENQUIRIES 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, because there will always be those cases when you cant tell whether some idea youve just come up with is ok or not, you can be sure well be around to help you out. Just get in touch, using one of the contacts to the right, and well do our best to work through your doubts and suggestions together. We truly respect and appreciate anyone whos willing to tackle the challenge of helping shape our companys future, and were eager to see what you make of it. Thank you! Tah Wei Hoon Soundzipper Creative Director tahwei@soundzipper.com Eduardo Nunes Visual Identity Designer helpme@eduardonunes.me (351) 93 480 81 91 GRAPHICS DEPARTMENT (65) 6509 3529 We hereby award you the honorary, and very fictional, title of Soundzipper Brand Expert. 8 Ubi Road 2 Zervex Industrial Building, #08-03 Singapore, 408538 acoustics@soundzipper.com
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