AIGA_ID_Guidelines

inside the box. inside AIGA identity and branding guidelines. Thinking 3345_alts6/16 10/4/00 4:20 PM Page cov1Why 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 cov21 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 misunderrstood 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 environmeent that reflect our goals, values and initiatives, our organization will be wellrepreesente 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 whowe 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 communicatiions 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 guidelinnes It can only be achieved with thoughtful, intelligent, creative efforts by thoughtful, intelliigent 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 produuce every service we offer, every initiative we initiate, every environment we create. 3345_alts6/16 10/4/00 4:20 PM Page 12 The official name American Institute of Graphic Arts The casual name AIGA 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 diagonna 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 Our name “Casual” chapter names AIGA NewYork AIGA Salt Lake City AIGA Indianapolis Incorrect Pittsburgh AIGA/Nebraska AIGAMinnesota 3345_alts6/16 10/4/00 4:20 PM Page 23 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 tendeenc 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 cannno 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 communicatioons It is preferred that the logo be reproduuce 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. The AIGA logo The positive version of the logo may be placed on any color backgrooun as long as the “box” shape is defined and the “AIGA” reverses. The reverse or “outline” version of the logo is for use on medium and dark-colored backgrounds. 3345_alts6/16 10/4/00 4:20 PM Page 34Signatures 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 “conversatioonal 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 communiccatio 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, mailiin 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. xx American Institute of Graphic ArtsBaltimore Chapter100 East Pratt St. 4th FloorBaltimore, MD 21202-1009www.aigabalt.orgFormal signature Formal chapter signature Formal signature in an address block 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.” 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. When a formal signature is used within an address block, all copy with the exception of “American” aligns flush left with the logo. 3345_alts6/16 10/4/00 4:20 PM Page 45 Examples of informal signatures American Institute of Graphic Arts Jacksonville Chapter Examples of informal signatures in address blocks Incorrect American Institute of Graphic Arts, Seattle Chapter 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 AIGA Chicago 855 West Blackhawk Street Chicago, Illinois 60622 Informal signatures are also the combination of the logo and the official national or chapter name, but may be typeset in any font appropriiat 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. The chapter “casual” name should never be combined with the logo to form a signature. 3345_alts6/16 10/4/00 4:20 PM Page 56 Filosofia Regular Filosofia Bold Interstate Black Interstate Light Interstate Light Condensed 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 publicatiion 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). Type abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Filosofia Italic 3345_alts6/16 10/4/00 4:20 PM Page 67 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 combinattion 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 Pantoone 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. Color palette 5855 C 5497 C 142 C 5483 C 5487 C 459 C 325 C 5777 C 5493 C 652 C 149 C 5415 C 465 C 451 C 646 C 696 U 279 U 711 U 4515 C 479 C 716 U 5125 C 697 C 4715 U *PANTONE® is a registered trademark of Pantone, Inc. 3345_alts6/16 10/4/00 4:20 PM Page 73345_alts6/16 10/4/00 4:20 PM Page 89 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 anobject, 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 3345_alts6/16 10/4/00 4:20 PM Page 910 Chapter print communications American Institute of Graphic Arts Atlanta Chapter AIGA Atlanta Best Shot 2000 O potius inflamm ut corescend magist et dodec nivitar igitur vera bene sanos as justiam. Ut enim nala adminim veniam, quis nostrud exerci tati laboris nisi ut eliquip ex ea commodo consequat. Dolor ni reprehenderit nivoluptate velit esse eufugiat hossaggl nulla 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 communiccation 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. The examples shown here and on the following spread are recreatiion of existing communications and are for demonstration purposes only. 3345_alts6/16 10/4/00 4:21 PM Page 1011 COLLAGE 2000 AMERICAN INSTITUTE OF GRAPHIC ARTS CHICAGO CHAPTER 3316 NORTH LINCOLN AVENUE CHICAGO, ILLINOIS 60657 3345_alts6/16 10/4/00 4:21 PM Page 1112 BORDER TO BORDER 3345_alts6/16 10/4/00 4:21 PM Page 12           ,   American Institute of Graphic Arts, Washington DC Chapter presents (r)evolution of Graphic Design–How do you know where you've been? Part 1/Wednesday, September 23 -US design Histor y and US Part 2/Tuesday November 17 -20th Centur y Dutch Graphic Design 13 3345_alts6/16 10/4/00 4:21 PM Page 1314 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. Chapter stationery 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. 12 pt XX 141 pt 37 pt align 8 pt American Institute of Graphic ArtsWashington, DC Chapter7832 Briardale TerraceRockville, MD 20855Tel 202 347 3881Fax 301 963 6015www@aigawashdc.org Pat TaylorAdvisory Board align XX 8 pt American Institute of Graphic ArtsWashington, DC Chapter7832 Briardale TerraceRockville, MD 20855Tel 202 347 3881Fax 301 963 6015www@aigawashdc.org Elizabeth LichtensteinStudent Liaisonkamomi@kinetikcom.com 12 pt XX 141 pt 37 pt align 8 pt American Institute of Graphic ArtsRaleigh ChapterPO Box 10849Raleigh, NC 27605Tel 919 472 1326cwdesign@mindspring.com Christy WhitePresident Six-line business card Seven-line business card Seven-line business card with personal e-mail 3345_alts6/16 10/4/00 4:21 PM Page 1415 18 pt 24 pt 144 pt 45 pt 12 pt 12 pt 18 pt align American Institute of Graphic ArtsWashington, DC Chapter7832 Briardale TerraceRockville, MD 20855American Institute of Graphic ArtsRaleigh ChapterPO Box 10849Raleigh, NC 27605Tel 919 544 8770Fax 919 828 6804www.aiga.com/raleighAmerican Institute of Graphic ArtsWashington, DC Chapter7832 Briardale TerraceRockville, MD 20855Tel 202 347 3881Fax 301 963 6015AIGAWashDC@aol.comwww.aigawashdc.org14 pt 14 pt align 10 pt 256 pt American Institute of Graphic ArtsWashington, DC Chapter7832 Briardale TerraceRockville, MD 208553345_alts6/16 10/4/00 4:21 PM Page 1516 P i d N hC ASS C C S ® S l Whi 8 lb d lb National sponsor recognition the official talent agency an official corporate sponsor the official education sponsor 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 sponsorrshi recognition. This use of the AIGA logo is authorized to a sponsor only when it is licensed, in writing, through a national relationship. Local sponsor recognition Chapters that offer annual sponsorship opportuniitie 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 AIGAMiami” should be used to differentiate this recognition from a national sponsorship. NORTHERNPRESS annual sponsor of AIGA Seattle ajax paper agold sponsor of AIGA Wichita 3345_alts6/16 10/4/00 4:21 PM Page 16Printed on Neenah CLASSIC CREST® Solar White 80lb. cover and 100lb. text 3345_alts6/16 10/4/00 4:21 PM Page cov3American Institute of Graphic Arts 164 Fifth Avenue, New York, NY 10010 Tel 212 807 1990 Fax 212 807 1799 www.aiga.org 3345_alts6/16 10/4/00 4:21 PM Page cov4