Beth Koch 2012 Senior Branding Projects

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B R A N D F O U N D A T I O N S

V I S U A L L A N G U A G E

V I S U A L I D E N T I T Y

L O G O

C O L O R S

P A T T E R N S

T Y P O G R A P H Y

P H O T O G R A P H Y

C O L L A T E R A L

D O N T ’ S

T O U C H P O I N T S

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B R A N D I N G G U I D E L I N E S 3

We repre sent a f us ion be t w een f un , h ip , and smar t . We are S t r ike .

We’re di f f erent f rom the smoke - laden , 30 y e ar o ld bo w ling a l le y that y ou ’re used to .

W i th a combinat ion o f gre at f ood , gre at dr inks , and gre at game s , w e w i l l change the bo w ling landsc ape f ore v er.


A BOU T S T R IK E


Our goal is to o f f er a f un and exc i t ing soc ia l ex per ience that s tands ou t f rom the a v erage and nor mal .


MI SS ION S TAT EMEN T


We w ant to change the bo w ling landsc ape b y o f f er ing some thing ne w and exc i t ing .

W hen y ou come to S t r ike , i t should be an ex per ience that y ou ne v er f orge t unt i l y ou ’re back again .

W i th our f or w ard think ing mental i t y, w e are cons tant l y changing and adapt ing to o f f er our cus tomer s the be s t in soc ia l ex per ience .

BR A ND V I S ION



We are :

Smar t

Bold

Outgoing

Fun

Char ismatic

For ward

BR A ND VA L UE S



We are the onl y upsc ale bo w ling lounge in Minne apol is that combine s upsc ale din ing and cock tai ls w i th a soc ia l atmosphere . Oh , and don’ t f orge t the bo w ling .

We of f er some thing di f f erent than thet y pic al n ightc lub / bar, and w e a im to c api t i la i ze on this n iche .


BR A ND P OS I T IONING


A n y s t rong brand c an be repre sented b y a se t o f v isual cue s , and this is our s .

MOOD BO A RD

V I S U A L L A N G U A G E


Our v isual ident i t y is smar t and s t y l ish . We don’ t need to o v er po w er y ou w i th f lash y ad v er t isements or chee s y neon l ights . Ins te ad , w e are conf ident in our v isual approache s and w e l ike to keep things s imple .

V I SUA L IDEN T I T Y


B R A N D I N G G U I D E L I N E S 1 0

T he S tr ike logo is a unique b lend of t w o per speci v e s coming into one , repre sent ing the spl i t be t w een din ing and bo w ling .

T he logo c an be used w i th the “ X ” and w i thou t the “ X ” in order to sho w c ase this per spec t i v e e v en more .

T he w ordmar k a lso s tands on i t ’s o w n w hen needed .


L OGO / W ORDM A RK

S T R I K E L O G O

S T R I K E W O R D M A R K



You should a l w a y s use the S tr ike logo w i th a l l e lements inc luded w hene v er pos sib le .

I f y ou need to sepate i t ’s e lements , y ou sohuld onl y use the w ordmar k , and ne v er the per spec t i v e “ X ”, unle s s f or appro v ed ad v er t is ing .

T he S tr ike logo needs at le as t 1” o f c le ar space to a v oid inter r upt ion f rom other e lements .

You c an a lso see se v eral other logo appl ic at ions .


L OGO US A GE

O N E C O L O R

1 ” C L E A R S P A C E

O N E C O L O R B / W F U L L C O L O R B G


Our pr imar y color s are bold and conf i -dent , and are used f or a l l o f our brand appl ic at ions .

Secondar y color s are used v er y spar ingl y, and usual l y in - house .

Do not use an y non - appro v ed color s .


COL OR PA LE T T E

P R I M A R Y C O L O R S

S E C O N D A R Y C O L O R S


T he se pat ter ns are a gre at addi t ion to an y brand appl ic at ion w hen used in the cor rec t w a y.

T he y should be used mode s t l y, onl y f or brand e lements that need that ex t ra punch .


PAT T ERNS

P A T T E R N 1 P A T T E R N 2


We use a c le an and moder n f ont f amil y f rom House Indus tr ie s , c al led Uni ted . W i th o v er 4 0 s t y le s , both ser i f and s ans -ser i f, th is f ont is as v er s at i le as our brand .

F or large , shor t he adings , use the Uni ted Ser i f E x tended He a v y. F or larger bod y cop y, use the Uni ted S ans Regular L ight f ace .


T Y P OGR A PH Y

U N I T E D S A N S L I G H T

U N I T E D S E R I F E X T H E A V Y


You should onl y used appro v ed photograph y to repre sent the S tr ike Brand .

Our photograph y sho w s energ y and ac t ion , and c an be used t w o w a y s .

On the le f t , y ou c an o v er la y our brand color s on top o f the image . On the r ight is our t radi t ional h igh - contras t B / W photo .

P hotograph y should a l w a y s be p laced w i thin the per spec t i v e “ X ” w hen a v ai lable .


PHO T OGR A PH Y

P H O T O W / C O L O R O V E R L A Y B / W P H O T O


Our le t ter he ad and busine s s c ards f o l lo w a long w i th our brand v alue s , and are a s leek and prof e s sional communic at ion tool be t w een prof e s sionals .

BUS INE SS COLL AT ER A L



A s t rong brand needs to s ta y consis tent , and the se are se v eral example s o f w hat y ou should ne v er do to the S tr ike logo .

Never:

- Use non - aproved colors

- Stretch /ske w the logo

- O ver lay the logo on a pat tern or

photo

- Use the w ordmark w ithout i t ’s

tagline

- Rotate the logo


DON T ’S



Touchpoints are w hat communic ate s are t r ue brand to the publ ic audience . T he y are v is ib le to e v er y one and an y one , and should dra w in a ne w audience w hi le s t i l l exc i t ing the cur rent audience .

In the f o l lo w ing page s , y ou c an f ind se v eral promot ional touchpoints that f ur ther promote the S tr ike brand .

T OUCHP OIN T S

B R A N D T O U C H P O I N T S


Our ou tdoor ad v er t is ing use s smar t and s imple language combined w i th energe t ic photograph y to dra w the v ie w er in .

OU T DOOR



Touchpoints don’ t s top once y ou enter S t r ike . T he y should be cons tant l y in v ie w, reenf orc ing our brand at a l l t ime s .

IN - HOUSE



Our re s taurant is a sophis t ic ated and t rend y hot spot that c an s tand a lone w i thou t a bo w ling a l le y.

RE S TAUR A N T


Kathy Van ZeelandBrand Manual

Table of Contents

Mission StatementStrategyVisionPositionValuesIntroduction to Company, Products, and ServicesMood BoardBrand DescriptionVisual IdentityLogoColor SystemsDo’s & Don’tsSituationsTypographyLetterhead/Business Cards/EnvelopesTouchpointsAppendix

Mission

Kathy Van Zeeland was founded in 2004 to create the highest quality and trend-right handbags for women. Kathy is committed to designing fresh product each season with the best materials at an affordable cost for her customers. She wants you to be complimented and feel sophisticated wearing her handbags. Thank you for choosing Kathy Van Zeeland!

Vision

Kathy Van Zeeland is commited to influenc-ing fashion trends with fresh ideas and quality products. Proving that quality does not have to be compromised in affordability.

Position

High-end accessories at an affordable price.

Values

QualityCreativityTrend-right

Strategy

The strategy is simple. Keep designing high quality bags that push the limits of fashion.

Introduction to Company, Products, and ServicesAfter bursting on the scene in late 2004, Kathy Van Zeeland, who is co-president of her company, is now in more than 1,300 stores nationwide.

In fact, her subdued signature prints and burnished metallic bags rank among the top two or three brands, according to retailers. These stylish and functional pieces, priced under $100, allow women to make a fashionable statement at a reasonable price.

Van Zeeland is no newcomer to the business. For nine years she was vice president of design at a major corporation and was responsible for building the product that fueled the $200 million sales peak.

With her unsurpassed eye for detail and exceptional style, Van Zeeland’s line is becoming an important lifestyle brand. She already has expanded from “must-have” handbags and small leather goods to coordinated belts and sunglasses. Incidentally, Van Zeeland’s husband, Bruce Makowsky, is the company CEO and co-president.

And Van Zeeland’s smart and sleek design inspiration doesn’t stop with camouflage, ultrasuede and signature print bags. Belts made with distressed fabrics and bold hardware retail from $48 to $68. Embellished sunglasses are priced at $48. With the exception of sunwear (licensed to Lantis eyewear), the design and manufacturing is handled in house, enabling all of the accessories to be cross merchandised seamlessly.

Van Zeeland’s success is due in part by her commitment to connect with her customers.

“I want to build a relationship with my customers. They know who I am -- and I know who they are. I get so many emails from women who love what they’ve bought. They even send me pictures of how they incorporate my pieces into their wardrobe,” she says.

The Kathy Van Zeeland logo encompasses seven key elements.

StylishIt is important to stand out amoung the com-petition while maintaining the same position.

FunctionalAlthough not the first thing that someone notices, each version is consrtucted entirely out of the letter k.

Embellished Colors and shapes weave into an intricate pattern and easily transfer into a fashionable charm or buckle.

SophisticatedThe dark color palette and strong lines show power and sophistication. The line width does not vary which emphasizes

Trendy Color in this version is very important. The combination is very different from what is seen in the industry. The variety of thick and thin lines shows change and variability while still balanced.

Fresh With inspiration from everything fresh, this logo is very open and uses a spectrum of green shades.

Feminine The soft curvacious lines and color combina-tion adds the feminine touch.

Brand Description

Kathy Van Zeeland is a fashion designer that focuses on making high fashion, high uality hand-bags for an affordable price. The Kathy Van Zeeland brand showcases the ideas and values that go into designing each handbag. When customers see the Kathy Van Zeeland logo they will think of trend- right designs, sophisticated style, fresh and feminine fashion, and embellished functional pieces with affordable prices. Holding her own amoung the competition, the brand will speak volumes to the millions of women searching for high quality products at a reasonable price.

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Clear Space

Veritcal

The distance surrounding the logo should be the same height as the inside sqaure of the monogram. Boundaries shown in red.

The inside square of the monogram should be the same height as the text.

The distance between the type and the mono-gram follows ration 1.375:0.625 inches.

Horizontal

The distance surrounding the logo should be the same height as the inside sqaure of the monogram. Boundaries shown in red.

The scale of the monogram is based on the leading between Kathy and VanZeeland. Shown in orange.KATHYVANZEELAND

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Color

Below is the sequence for a motion piece if needed for web or television. The k’s will rotate in from a 45 degree angle.

C=81 M=27 Y=24 K=46

R=0 G=92 B=112

Pantone 3165M

C=100 M=100 Y=12.94 K=14.12

R=43 G=40 B=118

Pantone 2685M

C=100 M=100 Y=12.94 K=14.12

R=43 G=40 B=118

Pantone 2685M

C=83 M=100 Y=23.92 K=29.41

R=66 G=29 B=93

Pantone 2622M

C=0 M=91 Y=0 K=13

R=210 G=49 B=133

Pantone Rubine Red M

C=83.53 M=50 Y=32.16 K=1.57

R=54 G=115 B=144

Pantone 308M

C=18 M=91 Y=0 K=62

R=66 G=06 B=49

Pantone 229M

C=27 M=48 Y=0 K=19

R=156 G=121 B=164

Pantone 252M

C=30 M=0 Y=95 K=0

R=191 G=215 B=59

Pantone 382M

C=90 M=30 Y=95 K=30

R=0 G=104 B=56

Pantone 7484M

C=75 M=0 Y=75 K=0

R=43 G=182 B=115

Pantone Hexachrome Green M

C=50 M=0 Y=100 K=0

R=140 G=198 B=63

Pantone 376M

C=100 M=92.94 Y=33.73 K=58.43

R=9 G=17 B=60

Pantone 5395M

C=6.67 M=98.04 Y=100 K=0.78

R=221 G=39 B=38

Pantone 1797M

C=43 M=0 Y=10 K=0

R=137 G=212 B=227

Pantone 2985M

C=100 M=44 Y=68 K=36

R=0 G=83 B=75

Pantone 3302M

Color

The color palettes shown are used with the four different monograms. The colors are specifically chosen for each logo and not to be applied to another. The only case where another color combination can be applied is when it compliments the design of a handbag and is used as part of the bag.

Bernhard ModernRomanDesigner: Lucian Bernhard

Bernhard Modern was designed by Lucian Bernhard and was first cut by American Type Founders. Bernhard Modern is an unusual face with small lowercase but very tall ascenders and short descenders. Bernhard Modern was intended to hold its color and contrast without depending on the spread of ink of the letterpress method. It has an attractive pen drawn quality which has made it a popular choice for invita-tions and greetings cards. The Bernhard Modern font is useful for advertising and display work.

DidotRegularDesigner: Adrian Frutiger

Linotype Didot is based on types cut by Firman Didot in Paris, circa 1783. These types, together with those of Fournier were the forerunners of the modern style so strongly associated with Bodoni. These faces are characterized by ver-tical stress, abrupt changes from thick to thin strokes and hairline serifs.

ITC AnnaRegularDesigner: Daniel Pelavin

ITC Anna by Daniel Pelavin is a modern inter-pretation of the Art Deco style. He drew the let-terforms that became the ITC Anna font familyfor his wedding announcement.

Mona Lisa Solid ITC TTRegularDesigner: Pat A. Hickson

ITC Mona Lisa is a modern interpretation of a 1930s design by Albert Auspurg. A display face with tall capitals, small lowercase x-height, short descenders and very long ascenders.

Perpetua Regular, BoldDesigner: Eric Gill

Perpetua is a typeface that was designed by Brit-ish sculptor, typeface designer, stonecutter and printmaker Eric Gill (1882–1940). Though not designed in the historical period of transitional type (the hallmark of transitional type was John Baskerville’s type designed in the last half of the 18th century), Perpetua can be classified with transitional typefaces because of characteristics such as high stroke contrast and bracketed ser-ifs. Along with these characteristics, Perpetua bears the distinct personality of Eric Gill’s let-terforms.

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Do NotRotateSkewTiltStretchChange typefaceChange relationship between logo and typeScaleUse one logo with a different logo pattern

Situations

It is agianst the law to use these logos in any application without consent. Please contact Mary Anderson at [email protected] for inquiries.

With permission the logo can be used in maga-zines, signage, reports, billboards, television media, and on the web.

If possible, use the color versions formatted either horizontal with the monogram to the left or vertical with the monogram on the top. If it must be black and white, do not convert to grayscale.

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Stationary & Business Cards

For use within the company, letterheads, en-velopes, and business cards, will be provided.The back of the letterhead and business card will have the different patterns from the col-lections.

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Collection: Triple LuxeName: Belt ShopperMaterial: NappaColor: Papaya

$75.00

Price Tags

The tag includes the collection, name, mate-rial, color and price of the handbag. Tags will be attatched with a matching ribbon.

Certificate of Authenticity

Each bag comes with a certificate of authentic-ity proving that it is an original Kathy purse.

Certificate of Authenticity

Certifying that this handbag is an original Kathy VanZeeland.

KATHYVANZEELAND

KATHYVANZEELAND

CollectionNameBag out of

Kathy VanZeeland

Triple LuxeBelt Shopper- Papaya124 487

Key Chain

Each bag includes a key chain with the logo of the collection the handbag is from.

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KATHYVANZEELAND

KATHYVANZEELAND

Complete 2010 Collection

Catalogues

Each collection will have their own catalogue. The shape is square in reflection of the logos themselves. Customers can pick them up at any retail location or have the set sent to their home directly. The catalogues sit nicely on a shelf and become a fun collectors item.

Packaging

When you buy a Kathy purse you will recieve a box that includes the logo pattern of the collection the purse is from. This also makes a nice storage container.

KATHYVANZEELAND

KATHYVANZEELAND

Triple Luxe Belt ShopperGrape$75.00Order online at www.kathyvanzeeland.com

Magazine Spread

Magazines are one of the main advertising tools in fashion. This is a two page spread that features one handbag. The white space paired with the familiar Kathy Van Zeeland pattern is sure to catch the viewer’s eye.

Blending sport with culture and education, Olympism seeks to create a way of life based on the joy of effort, the educational value of good example and respect for the universal fundamental ethical principles.

The goal of Olympism is to place sport at the service of the harmonious development of man, with a view to promoting a peaceful society concerned with the preservation of human dignity.

Olympic Values:

ExcellenceRespectFrendshipPeace

Vision:

Bringing the world together through sport

Visual Identity

vibrantelectricloudspeedenergyelitepeacealivebold

c: 83m: 25y: 45k: 3

r: 8g: 142b: 142

#088E8E #71C9F1#71CCD8 #EAE72E #E44A25 #F68B2Cr: 113g: 201b: 241

r: 112g: 204b: 215

r: 234g: 231b: 46

r: 228g: 74b: 37

r: 246g: 139b: 44

c: 50m: 3y: 0k: 0

c: 52m: 0y: 16k: 0

c: 11m: 0y: 93k: 0

c: 5m: 86y: 100k: 0

c: 0m: 55y: 93k: 0

Walkway blackWalkway bold

Font:

Visual identity: Logo, logotype, signature (logo plus tag line), black and white, color, logos on colored background, logos in reverse (white), verbal description, clear space measurements, Web/TV/Motion, Color systems/color palettes and “corporate” colors [Pantone, web safe, CMYK, RGB, HEX, etc.], do’s and don’ts, writing tone. A list of situations that the brand and its symbols can be used and cannot be used. Logo Downloads: available formats: GIF - normal picture of a logoEPS - Encapsulated Postscript* (specifically for printing jobs, high resolution )WMF - Window Meta file, usable in Microsoft applications (e.g. *Postscript files can be used with specialised programs like Adobe Photoshop or Adobe Illustrator. This is for professional use only

emblem on black emblem on white black and whitereverse clear space

*

*

correct correct incorrect

Fundamental Principles of Olympism

1. Olympism is a philosphy of life, exalting and combining in a blanced whole the qualities of body, will and mind. Blending sport with culture and

the educational value of good example and respect for universal fundamental ethical principles.

2. The goal of olympism is to place sport at the servce of the harmonious developement of man, with a view to promoting a peaceful society concerned witht hte preservation of human dignity.

3. The olympic Movement is the concerted, organized, universal and permanent action, carried out under the supreme authority of the IOC, of all individual and entities who are inspired by the values of Olympism. It Covers

world’s athletes at the great sports festival, the Olympic Games. Its symbol is

4. The practice of sport is a human right. Every individual must have the possibility of practicing sport, without discrimination of any kind and in the Olympic spirit, which requires mutual understanding with a spirit of friendship, solidarity and fair play. The organization, adminstration and management of sport must be controlled by idependent sports organizations.

5. Any form of dicrimination with reguard to a country or aperson on grounds of race, religion, politics, genter or otherwise is incompatible with belonging to the Olympic Movement.

6. Belonging to the Olympic Movement requires comliance with the Olympic Charter and rexognition by the IOC.

Taylor [email protected]

LetterheadBusiness Cards

street banners

West Side Stadiu mSection: 126Row:

16Seat: 29

Augu

st 11

th 2

012

XXIII Olympic Game s

event tickets

window graphicsbillboards