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Äppelkärnan brandbook
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03/ GOALS AND MISSION
LOGOTYPE04/ principal logotype
05/ secondary logotype
06/ TYPOGRAPHYprincipal and secondary
COLOUR07/ CMYK,RGB, WEB
08/ colour version09-012/ colour negative version
013/ B&W negative version014/ B&W version
015/ photograpy version
016/ CONSTRUCTION
STATIONARY017/ personal card
018/ letter019/ american envelope
020/ DESIGNER REFLECTION
INDEX
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“When you eat an apple, you eat the fruit part of the apple, and then you throw away the core of the apple, with the apple seeds. But what happens if you put an apple seed
into the earth, giving it some water and keep the weeds away? Well, it will grow,
slowly slowly. First you just see a little green stick appearing in the earth, that it grows
more and more, and after a number of years, it has become a big tree, producing
its own apple.”
“Our history only goes back to the summer of 2015. We are all socially conscious peo-ple, mostly with a Christian confession (but also a Muslim), who have a positive view of
their fellowman, and want him/her to get established in the Swedish society with
language, work and personal connection.We would like to put these immigrants into
contact with serious employers, or to help them to create their own businesses.”
“Our goal is not – primarily – to make mo-ney. But we want other people to be able to
make money. ”
ÄPPELKÄRNANgoals and mission
- text extracted from the brief -
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LOGOTYPEprincipal logo
This is the principal logotype and it will be used for almost all the formats and surfaces. Except for some occasions specified in the following pages. The logotype is composed of figure and text.
O5
LOGOTYPEsecondary logo
The secondary logotype will be used when the logotype has to be reduced in a small scale, so in these cases, the baseline (Äppelkärnan diakonalt enterprenörskap ek för) can be removed from the principal logotype. Since the incorporation of these elements can disturb the visual overview
of the logo (bad legibility).
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z
1 2 3 4 5 6 7 8 9 0
p r i n c i p a l
GEORGIA for ÄppelkärnanGeorgia - Regular
Georgia - Italic
Georgia - Bold
Georgia - Bold Italic
Verdana - Regular
Verdana - Italic
Verdana - Bold
Verdana - Bold Italic
s e c o n d a r y
Verdana for diakonalt entreprenörskap ekonomisk förening
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z
1 2 3 4 5 6 7 8 9 0
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w
x y z 1 2 3 4 5 6 7 8 9 0
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z
1 2 3 4 5 6 7 8 9 0
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z
1 2 3 4 5 6 7 8 9 0
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z
1 2 3 4 5 6 7 8 9 0
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z
1 2 3 4 5 6 7 8 9 0
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w
x y z 1 2 3 4 5 6 7 8 9 0
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TIPOGRAPHYprincipal and secondary
Georgia is a serif typeface designed in 1993 by Mat-thew Carter. Georgia shows a number of traditional features of ‘rational’ serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy
Verdana is a humanist sans-serif typeface designed in 1996 by Thomas Rickner,Verdana has a large x-height with wider proportions and loose letter-spacing. The counters and apertures are wide, to keep strokes clearly separate from one another, and similarly-shaped letters are designed to appear clearly different to increase legibility for body text
COLOR GRADIENT
#983C21 +#A8B36C +#6E4D2B
#000000C0 M0 Y0 K100
R0 G0 B0
#983C21C24 M86 Y97 K18
R152 G60 B33
#A8B36CC44 M20 Y68 K4
R163 G173 B108
#6E4D2BC35 M63 Y85 K44
R110 G77 B43
#FFFFFFC0 M0 Y0 K0
R255 G255 B255
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COLOURWEB_CMYK_RGB
The colour gradient is the pri-mary colour in the figure on the logotype together with the text
represented in green. In this section, we can see the colours detailed in RGB code used for screen colours , CMYK for printed colours and Web
code (#) for websites.
Important: Pay special attention the colour code depending in which surface the logo will be
used. For example: if we are working on the website make sure the colour font is RGB. However, if we have to print some items use
CMYK.
Black will be used for the text.
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COLOURcolour version
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colour version
There are three different versions of the negative colour logo.
The version can be used depending on how dark or light the background is. Despite the structure change, the shapes, colours and typography are still the same so there will be no problem to iden-
tify Äppelkärnan organisation. The variations in the logo enhance the graphic code because it breaks the monotony, and beco-
mes a dynamic logo.
color negative versionCOLOUR
w
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color negative versionCOLOUR
w
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color negative versionCOLOUR
color negative versionCOLOUR
O12
w
B&W negative versionCOLOUR
The white version with black background will be used in prints without colour or with backgrounds
in black or grey tones.Less usual.
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B&W version
The black version of the logo will be used to print documents in black and white; for example, press cards or letters. This version is used very of-ten due to it reduces the costs of printing.
COLOUR
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photography versionCOLOUR
Version of the logo used on a pho-tographic support. Important; the white circle must have a transparen-
cy of 90% or less.
O16
Logotype composition inside a grid. Used as a guide to place the different elements
(figure, text 1 and text 2)
principal and secondary logoCONSTRUCTION
real scale
50 m
m40
mm
6 m
m5
mm
90 mm
5 mm
20 m
m
73 mm
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STATIONARYpersonal card
221 mm
297
mm
60% reduced
O18
STATIONARYletter
10 m
m
10 mm
60% reduced
221 mm
110
mm
5 m
m
70 mm
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STATIONARYamerican envelope
The logo design come from the study of the or-ganisation and its needs. I wanted to design a logo able to express the values and the work ca-rried out by the organisation in order to transmit
a direct message to the target audience.The shape of the logo has been changing during the design proces always taking the sugestions from the Äppelkärnan teem into consideration. The logo symbolizes the birth and growth of a seed that has been sown with effort and hard
work.The colours help to emphasise the concept of organically growing. The gradually thick line to a thin line gives a more dynamic composition of the logo. The circle is an inclusive shape, re-presenting the world, which welcomes and takes care of those who are inside the circle, everyone.
DESIGNER REFLECTION
- Júlia Escriu Alberich -