AIGA_ID_Guidelines

3345_alts6/16 10/4/00 4:20 PM Page cov1 Thinking inside inside the box. AIGA identity and branding guidelines. 3345_alts6/16 10/4/00 4:20 PM Page cov2 Why is it important to build a strong, appropriate, consistent AIGA brand? To gain greater recognition and respect for the AIGA, and to ensure that the AIGA receives credit for all its actions and activities. To increase perception of the AIGA as the undisputed leader in supporting and promoting excellence in design. To build greater public awareness of and respect for design. To promote the value of professional graphic design. To attract new members. To retain the members we have. To gain greater financial support for the organization. 3345_alts6/16 10/4/00 4:20 PM Page 1 Identity and branding…why worry? Whether we want to be or not, we are a brand. We’re out there—and our members and others are continually forming opinions about us. Those opinions will be positive, negative or ambiguous. We need to participate actively in influencing those opinions. We can choose to be either visible or invisible. We can either ensure we get credit for the things we do, or we can do good things and risk getting no credit for them. We can work to be either understood or chance being misunderstood. We can become perceived as either a good brand or a bad brand; a clear brand or a confusing brand; a helpful brand or an irritating brand; a responsible brand or an irresponsible brand. It’s up to us. Is our logo our brand? Our logo is a thing—it identifies us on objects and in environments. In and of itself, it doesn’t say a whole lot about the AIGA or graphic design. As beautiful or unique as any logo may be, it remains essentially inanimate. Without being placed onto or into something, it has very little meaning. Branding starts when the identifier is placed into an environment. When our logo is placed into positive environments that reflect our goals, values and initiatives, our organization will be wellrepresented and our desired messages delivered. Placed into a poor or inappropriate environment, the logo may only serve to misrepresent or confuse our goals, values and initiatives, and may reflect negatively on the organization. By the same token, an environment, action, product or service may be spectacular, but without displaying our identifier it may afford us little or no credit for our efforts. Our visual identity—our logo and supporting elements—identifies us. It says who we are. Our brand is the activation and manifestation of our goals, initiatives, mission and values. It demonstrates what we are, and why we are. The purpose of our branding program is to evoke an appropriate emotional response from the viewer by embodying—within all our messages and actions—the positive emotional characteristics of the organization. The key The key to successfully branding the AIGA is individual responsibility. All those involved in creating AIGA communications, environments and initiatives— designers, writers, the creators of products or services, the editors, the proofreaders— must be personally responsible for ensuring that the positive attributes of the organization are embodied in every effort; that the members and audiences are being well served; that the organization is getting credit for all its efforts. This cannot be accomplished merely with an identity manual or systematic branding guidelines. It can only be achieved with thoughtful, intelligent, creative efforts by thoughtful, intelligent, creative people. We must program, write, design and deliver all that we do according to who we say we are. And then we must ensure that we are credited for all we do by clearly identifying the AIGA and the local chapters on everything we produce, every service we offer, every initiative we initiate, every environment we create. 1 3345_alts6/16 10/4/00 4:20 PM Page 2 Our name We actually have two names: our official name– American Institute of Graphic Arts—and our “casual” name, the AIGA. There is no “The” in front of American Institute of Graphic Arts, and no periods within AIGA. Chapters also have both a formal and a casual name. For instance, Salt Lake City’s official name is “American Institute of Graphic Arts, Salt Lake City Chapter,” while its casual name is “AIGA Salt Lake City.” Official names are used primarily in signatures and address blocks (see page 4). Casual names are used “conversationally,” in text or in headings. While they may be used freely, they may never substitute for official names. Casual names should always be typeset in a single typeface and weight—never emphasizing any portion of the name. In the past, a diagonal slash between “AIGA” and the chapter location was required, but this is no longer the case. Examples of official names: American Institute of Graphic Arts St. Louis Chapter American Institute of Graphic Arts Boston Chapter American Institute of Graphic Arts Colorado Chapter Examples of casual names: AIGA Los Angeles AIGA Richmond AIGA Philadelphia Incorrect The official name American Institute of Graphic Arts The casual name AIGA “Casual” chapter names AIGA New York AIGA Salt Lake City AIGA Indianapolis AIGA/Nebraska AIGAMinnesota Pittsburgh 2 3345_alts6/16 10/4/00 4:20 PM Page 3 The AIGA logo In honoring our past, our new logo retains the spirit of the previous identifier designed by Paul Rand. But because the old logo had a tendency to become lost among accompanying type and graphics, the new logo carries with it a bold background—a box that gives it more presence in cluttered environments. The letterforms have been redrawn, respaced and fattened for greater legibility. They cannot be replicated with any existing typeface and must never be modified. On page 7 of these guidelines is a palette of 24 colors selected to support AIGA communications. It is preferred that the logo be reproduced in one of these colors, or in black or gray. The large logo shown here is reproduced in “National Blue,”which is similar to PANTONE® 5415C. The letters “AIGA” within the box are always reproduced as a reverse—they should never be reproduced as a positive. An outline version of the logo is available for use on black or very dark backgrounds. The outline allows the logo box to be defined while still reversing the AIGA letters to white. The logo should be prominently displayed on all AIGA communications. This doesn’t mean it needs to be large—just recognizable. Imaginative use of the logo is encouraged. Rather than having the logo simply placed on communications as an afterthought, an effort should be made to integrate and activate the logo within communications. Electronic artwork for both the positive and reverse logos is available on the web at www.aiga.org/common/chapters/ chapter_info.htm. 3 The reverse or “outline” version of the logo is for use on medium and dark-colored backgrounds. The positive version of the logo may be placed on any color background as long as the “box” shape is defined and the “AIGA” reverses. 3345_alts6/16 10/4/00 4:20 PM Page 4 Signatures Every communication produced by the national office or a chapter should have a signature somewhere on it. A signature is the combination of an official name and the logo. Casual names (such as AIGA Oklahoma) are reserved for “conversational” use and should never be combined with the AIGA logo (see page 2). The national or chapter official name does not necessarily need to be placed next to or below the logo to constitute a signature, but the two should be somehow visually related. The viewer should be able to understand that the “AIGA” of the logo means “American Institute of Graphic Arts,” and that this particular communication is from the “[Location] Chapter.” There are two types of signatures: formal and informal. A formal signature is the combination of the logo with the official national or chapter name set immediately below in Filosofia Italic, upper- and lowercase. Formal signatures are used for all stationery items, including letterheads, envelopes, mailing labels and business cards, and can be used on other items whenever appropriate. Electronic files for reproduction of the formal signature are available at www.aiga.org/ common/chapters/chapter_info.htm. Formal signature The ratio of the width of the logo to the width of the name is 3 units to 8 units. The name is positioned below the logo so that the “I” of “Institute” aligns flush left with the logo. The distance between the bottom of the logo and the top of the “I” in “Institute” is equal to the height of the “G” in “Graphic.” Formal chapter signature The second line of a signature is centered below the first. The leading to the second line is equal to the distance from the base of the logo to the base of the first line of the name. x x Formal signature in an address block When a formal signature is used within an address block, all copy with the exception of “American” aligns flush left with the logo. American Institute of Graphic Arts Baltimore Chapter 100 East Pratt St. 4th Floor Baltimore, MD 21202-1009 www.aigabalt.org 4 3345_alts6/16 10/4/00 4:20 PM Page 5 Informal signatures are also the combination of the logo and the official national or chapter name, but may be typeset in any font appropriate to the communication on which they appear. Informal signatures and address blocks may be used on any promotional or informational communication other than stationery and business cards, and national office business forms. Examples of informal signatures American Institute of Graphic Arts Jacksonville Chapter American Institute of Graphic Arts, Seattle Chapter Examples of informal signatures in address blocks American Institute of Graphic Arts 164 Fifth Avenue NewYork, NY 10010 american institute of graphic arts los angeles chapter 444 n. larchmont blvd. los angeles, ca 90004 www.aigalosangeles.org Incorrect The chapter “casual” name should never be combined with the logo to form a signature. AIGA Chicago 855 West Blackhawk Street Chicago, Illinois 60622 5 3345_alts6/16 10/4/00 4:20 PM Page 6 Type There are two families of type that should be used for all “permanent” AIGA materials, including stationery, business cards, forms, membership cards and signage: Filosofia and Interstate. These typefaces may also be used wherever else they may be appropriate, but chapter promotional materials and publications are not limited to these fonts and should be produced in the typefaces that are most appropriate to the subject matter being presented. Both of these type families are available for PC and Macintosh. Filosofia is available from Emigre Fonts (www.emigre.com). Interstate is available from Font Bureau (www.fontbureau.com). Filosofia Regular abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Filosofia Italic abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Filosofia Bold abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Interstate Black abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Interstate Light abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Interstate Light Condensed 6 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 3345_alts6/16 10/4/00 4:20 PM Page 7 Color palette In the past, our official colors were black, gray, red and green. No more. The new color for national is a slate teal, and now there’s also a 24-color palette from which chapters can pick their own personalized color or color combination. The colors shown on this page are similar to the PANTONE® color standard numbers below each. However, the colors shown throughout this manual have not been evaluated by Pantone, Inc. for accuracy and may not match the PANTONE® Color Standards.For accurate color standards, refer to the current edition of the PANTONE® Color Formula Guide.* Any combination of colors in the palette can be used when producing print or electronic communications. However, the use of these colors for materials other than stationery is not mandatory. 142 C 5855 C 4515 C 5777 C 5487 C 5497 C 716 U 325 C 5483 C 459 C 479 C 5493 C 711 U 5125 C 652 C 149 C 697 C 5415 C 451 C 4715 U 465 C 646 C 696 U 279 U *PANTONE® is a registered trademark of Pantone, Inc. 7 3345_alts6/16 10/4/00 4:20 PM Page 8 3345_alts6/16 10/4/00 4:20 PM Page 9 Logo variations The “box” of the logo doesn’t always need to be a solid outline black, blue, red, green or purple square. Nor does it need to be isolated from other type and graphics as is the case with many other logos. The logo can become an object, a photo, an illustration, part of a pattern, or combined with text or image. It can be animated and made into art. The idea is to have fun—but be responsible. Make sure the proportions and integrity of the box remain accurate and that it still “reads”as the logo. The rules regarding the positive and reverse logos found on page 3 still apply. The letters “AIGA”are always reproduced as a reverse out of any background—never as a positive. Na conscient ti ipito hossaggl factatum neirbo et nitsu poen legum odio que civiud neque pecun modut est non et imper ned soluta no bis elignet iptio modut congue nihi est impedit religuard odio que odio retsam cupiditat, quas mulla est praid omumd antet prehenderits ni volup tate velit esse ensoluta or 9 3345_alts6/16 10/4/00 4:21 PM Page 10 Chapter print communications Integrate and activate the logo. Have it relate to and perform with the other visual elements of a print communication. It can be very small or very large, subtle or bold, but it should always be recognizable. The logo can serve as an endorsement on a graphic communication, or as a graphic itself. And remember, the environments into which the logo is placed will have greater influence on how the viewer regards the AIGA than the logo itself will ever have. AIGA A tla nt a s In u te t it of Graphic Arts A tla nt Be 000 ot 2 Sh st aC Am eri ca n The examples shown here and on the following spread are recreations of existing communications and are for demonstration purposes only. ha p te r nd ce es ur r t co igi Ut ut r . m vita iam , t am ni s m is fl c ju ia or in de as ven lab o i d us o s ti t d no im at mo po t e sa in i t m t O gis ne dm erc co eli v a e a x a m a b ala d e x e i te a r u e ta ll ve m n str ip or n up nu i o u l l l en s n eliq Do ivo gg i . n a qu i ut uat rit oss is eq de t h n s en ia n co reh fug ep eu r e s es 10 3345_alts6/16 10/4/00 4:21 PM Page 11 COLLAGE 2000 AMERICAN INSTITUTE OF GRAPHIC ARTS CHICAGO CHAPTER 3316 NORTH LINCOLN AVENUE CHICAGO, ILLINOIS 60657 11 3345_alts6/16 10/4/00 4:21 PM Page 12 BORDER TO BORDER 12 3345_alts6/16 10/4/00 4:21 PM Page 13 A m e ri c a n I n s t i t u t e o f G r a p h i c A r t s , Wa s h i n g t o n D C C h a p t e r p re s e n t s ( r ) e v o l u t i o n o f G r a p h i c D e s i g n – H o w d o y o u k n o w w h e re y o u ' v e b e e n ? Pa r t 1 / We d n e s d a y, S e p t e m b e r 2 3 - U S d e s i g n H i s t o r y a n d U S Pa r t 2 / Tu e s d a y N o v e m b e r 17 - 2 0 t h C e n t u r y D u t ch G r a p h i c D e s i g n            ,   13 3345_alts6/16 10/4/00 4:21 PM Page 14 Chapter stationery 141 pt 37 pt Stationery sets for two chapters (Raleigh and Washington, DC) are illustrated here and should provide adequate guidelines for most chapters when preparing their own artwork. Several chapters, including Washington, DC, furnish cards for each of their board members. In these cases, personal information such as e-mail or personal telephone numbers should always be listed under the individual’s name and never be included in the chapter address information. Information for constructing stationery items can also be found at www.aiga.org/common/chapters/ chapter_info.htm. Typography Letterhead and envelopes: 10/13 Filosofia Italic. Sequential all-cap abbreviations such as PO, MD, DC are set in 9 pt Filosofia Italic. Business cards: 9/11 Filosofia Italic. Sequential all-cap abbreviations such as PO, MD, DC are set in 8 pt Filosofia Italic. 7.75/11 Interstate Black name. Mailing labels: 9/11 Filosofia Italic. Sequential all-cap abbreviations such as PO, MD, DC are set in 8 pt Filosofia Italic. Logo Color: Chapter’s choice from the AIGA palette with “AIGA” reversing out to white. Size on letterhead and envelope: 45 points x 45 points. Size on business cards and mailing labels: 37 points x 37 points. 12 pt Six-line business card X 8 pt align Christy White President American Institute of Graphic Arts Raleigh Chapter PO Box 10849 Raleigh, NC 27605 Tel 919 472 1326 cwdesign@mindspring.com X 141 pt 12 pt 37 pt Seven-line business card X 8 pt align Pat Taylor Advisory Board American Institute of Graphic Arts Washington, DC Chapter 7832 Briardale Terrace Rockville, MD 20855 Tel 202 347 3881 Fax 301 963 6015 www@aigawashdc.org X Seven-line business card with personal e-mail X 8 pt align Elizabeth Lichtenstein Student Liaison kamomi@kinetikcom.com American Institute of Graphic Arts Washington, DC Chapter 7832 Briardale Terrace Rockville, MD 20855 Tel 202 347 3881 Fax 301 963 6015 www@aigawashdc.org X 14 3345_alts6/16 10/4/00 4:21 PM Page 15 144 pt 45 pt 24 pt 12 pt American Institute of Graphic Arts Washington, DC Chapter 7832 Briardale Terrace Rockville, MD 20855 Tel 202 347 3881 Fax 301 963 6015 AIGAWashDC@aol.com www.aigawashdc.org American Institute of Graphic Arts Raleigh Chapter PO Box 10849 Raleigh, NC 27605 Tel 919 544 8770 Fax 919 828 6804 www.aiga.com/raleigh align 18 pt 18 pt 12 pt 14 pt 14 pt 256 pt American Institute of Graphic Arts Washington, DC Chapter 7832 Briardale Terrace Rockville, MD 20855 10 pt American Institute of Graphic Arts Washington, DC Chapter 7832 Briardale Terrace Rockville, MD 20855 align 15 3345_alts6/16 10/4/00 4:21 PM Page 16 National sponsor recognition Corporations that have formed long-term relationships with the AIGA under specified national sponsorship terms are authorized to use the national AIGA logo with specific sponsorship recognition. This use of the AIGA logo is authorized to a sponsor only when it is licensed, in writing, through a national relationship. the official talent agency an official corporate sponsor the official Local sponsor recognition Chapters that offer annual sponsorship opportunities may authorize annual sponsors to promote the relationship by using the chapter name in a designation indicating the sponsor’s support. Chapters can apply their own descriptions to the local annual sponsorship category, such as “gold,”“annual,”“year-round,”etc.Whichever description is selected, the sponsor’s name or logo plus a simple tag line such as “annual sponsor of AIGA Miami” should be used to differentiate this recognition from a national sponsorship. education sponsor NORTHERNPRESS annual sponsor of AIGA Seattle a gold of AIGA lb Pi d N h C ASS C C S ® sponsor ajax paper Wichita 16 S l Whi 8 lb d 3345_alts6/16 10/4/00 4:21 PM Page cov3 Printed on Neenah CLASSIC CREST ® Solar White 80lb. cover and 100lb. text 3345_alts6/16 10/4/00 4:21 PM Page cov4 American Institute of Graphic Arts 164 Fifth Avenue, New York, NY 10010 Tel 212 807 1990 Fax 212 807 1799 www.aiga.org