01 MAY 2018 v1.0 QARAGANDY REGION VISUAL IDENTITY GUIDELINES

Transcription

1 01 MAY 2018 v1.0 VISUAL IDENTITY GUIDELINES

2 Section 1 Concept 03 INDEX SECTION 1 CONCEPT Concept SECTION 2 CONSTRUCTION Logo Construction Main logo & Branches Monochrome Version Main logo & minimum size Branches Logo Variants Communication variants Exclusive zone Main logo Branch lockups Color Main colors Auxiliary colors Mettallics Logo Variants Black & White Backgrounds Background Color Image background Typeface Primary typeface Web Typeface System typeface Patterns Imagery logo misuse SECTION 3 APPLICATIONS Institutional Stationary Website Urban Installation Street signs Public transport Bycicl parking Merchandising Stickers Phone Covers Pins Trophy Flip Flops Tote Bags T-shirts Snapback cap Winter hat Marathon stuff Advertising Mupi Outdoor

3 1 SECTION 1 CONCEPT This document outlines the basic overview for the identity concept. The identity of the represents the symbol of the largest region in Kazakhstan, a figurative vision of its multifaceted history and people. The new symbol of the Karaganda region will embody the vision of the future of the region and its place not only within the country, but the whole world! Section 1 Concept 05

4 CONCEPT THE CIRCLE Section 1 Concept 07 The circle shape encompasses a diversified symbology, from the tiniest element to the yurts shanyrak, to a spot on a map, a city or the whole world.

5 CONCEPT THE TRIANGLE Like the circle, the triangle is one of the most ancient and universal symbols. The whole Kazakh culture is filled with the sacred value of the three figure. One of the oldest ornament that survived all metamorphosis and has not lost its relevance in today s digital world. Section 1 Concept 09

6 CONCEPT Section 1 Concept 11 For the logo contruction concept, the circle and the triangle are the main shapes. The overlaying result is the letter Q sign - the first letter of the region name in the Latin spelling. The circle represents the regions dynamics and the triangle its stability. By combining these two forms we obtained an universal symbol - a symbol of the.

7 CONCEPT The circle and the triangle can be filled with different images, and each time show a new face of the Karaganda region. Q A R A G A N DY Industry of Q A R A G A N DY Section 1 Concept 13

8 Beautiful, unexplored and unique travel areas. Visit

9 2 SECTION 2 CONSTRUCTION The logo is the most visible element in the identity an instantly recognizable symbol of the. Therefore it s important to use the Logo exactly as specified in these. This document illustrates how to use the new identity and its visual and graphic components consistently. It includes directions on how to use the logo, colors and typeface and additional graphics. It ensures consistency, integrity and coordinated application of the new identity through all communications and products. visual identity are essential for a coherent communication. Enabling the confident use of all identity resources. Consistent and accurate use of the is key to create a strong, recognizable identity. Section 2 Construction 17

10 LOGO CONSTRUCTION MAIN LOGO & BRANCHES Section 2 Construction 19 The logo is the result of a combination of the wordmark and its icon. The infographic shows the icon construction, the relation between icon and wordmark, typography and all the necessary for the logo s correct construction. (main wordmark) typography is Museo Sans Cylliric 900. For the different branches it should be used Museo Sans Cylliric 500. The wordmark must be set all in capital letters. Branch Name Wordmark Museo Sans Cyrillic 900 Tourism of Minimum size The logo icon should not be used below 55 mm width or when its graphic integrity is compromised. Branch Name Museo Sans Cyrillic 500 Wordmark Museo Sans Cyrillic 900 Wordmark Icon Logo Wordmark Icon Logo

11 LOGO CONSTRUCTION MONOCHROME MAIN LOGO & MINIMUM SIZE Section 2 Construction 21 In some cases, a full color logo may not be possible due to technical limitations in printing or poor legibility. For these instances use the grey scale version or a one-color black or white logo. This version of the can also be used for stencil applications. Full color version of the logo should be used as much as possible. The logo also includes minimum version lockup for limited size applications. x x/3 x 55 mm

12 BRANCHES LOGO VARIANTS COMMUNICATION VARIANTS Section 2 Construction 23 Besides the official logos, a strategic communication variant was created to be used as a graphic mecanism to enhance the brand positioning. The result was achieved with the circle and triangle color inversion and by adding a 20% transparency to the circle. Shapes of Tourism of Shapes of Tourism of Industry of Business of Industry of Business of Cities of People of Cities of People of

13 EXCLUSIVE ZONE MAIN LOGO KAZAKH & ENGLISH Section 2 Construction 25 The exclusive zone guarantees the legibility and impact of the logo by creating clear space from the competing visual elements. This zone should be considered as the minimum distance. If possible it should be given to the logo even more space to communicate. Generous negative space allows the attention to focus on the logo. The minimum amount of clear space should be used as illustrated. Primary A Lockup Primary A Lockup OBLYSY Primary B Lockup Primary B Lockup OBLYSY Icon When using the icon apply the same minimum margin. Icon

14 EXCLUSIVE ZONE MAIN LOGO KAZAKH & ENGLISH Section 2 Construction 27 Secondary Lockup Secondary Lockup OBLYSY Vertical Lockup Vertical Lockup OBLYSY

15 EXCLUSIVE ZONE BRANCH LOCKUPS KAZAKH & ENGLISH Section 2 Construction 29 These rules also apply for all the different branches versions. Branch Lockup Branch Lockup Týrıstik OBLYSY Tourism of Secondary Branch A Lockup Týrıstik OBLYSY Secondary Branch A Lockup Tourism of Secondary Branch B Vertical Lockup Icon Týrıstik OBLYSY Secondary Branch B Vertical Lockup Icon Tourism of

16 COLOR Section 2 Construction 31 Main colors Colors are also an important and defining characteristic of the brand personality. There are specific color for the main logo and for each branch. The Main and Branches logotype should, as often as possible, be presented with the respective colors. The colors can be used across all media from the website to a business card. For each branch communication application it should be used, as often as possible, its specific color. Auxiliary colors Black and Grey are the complementary colors that should be used across all logos and communication. Mettallics For special cases the logo can also be used in a more distinct approach, for instance, a metallic foil in gold or silver. Pantone Metallic Silver 877 and the Gold 876 are also an option. Main Pantone 3262 Red Pantone 1787 Orange Pantone 151 Green Pantone 375 Blue Pantone 285 Pink Pantone 691 Secondary A Pantone 430 Secondrary B Black White Gold Pantone 876 Silver Pantone 877 cmyk rgb cmyk rgb cmyk rgb cmyk rgb cmyk rgb cmyk rgb cmyk 040 rgb cmyk 100 rgb cmyk rgb cmyk rgb cmyk rgb html #00C4C4 html #FF495C html #FF8300 html #BBEF16 html #1578E5 html #FDDBCF html # html # html #FFFFFF html F7403A html F7403A 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 100% 90% 80% 70% 60% 50% 40% 30% 20% 10%

17 COLOR LOGO VARIANTS Section 2 Construction 33 Shapes of Tourism of Shapes of Tourism of Industry of Business of Industry of Business of Cities of People of Cities of People of

18 COLOR BLACK & WHITE BACKGROUNDS Section 2 Construction 35 Color Monochrome Grey Scale 100% Black 50% Black

19 COLOR BACKGROUND COLOR Section 2 Construction 37 Colors play an important part in the visual communication system and they should be used abundantly. It should be guaranteed that the colors maintain contrast in colored backgrounds, if not possible substitute with white.

20 COLOR BACKGROUND COLOR Section 2 Construction 39

21 COLOR IMAGE BACKGROUND Section 2 Construction 41 With background images always guarantee the logo legibility and visibility. Use the correct color version of the logo depending on the background brightness, contrast or color. Avoid using the logo in a less clear zone.

22 TYPEFACE Section 2 Construction 43 Primary typeface Museo Sans Museo Sans should be used, as often as possible, for all stationary materials, promotional supports, titles, small text blocks and slogans. Museo Sans includes three different weights: Regular (500), Medium (700), and Bold (900). The primary typeface should be used across all mediums, always taking legibility in consideration. Web Typeface Roboto Roboto is a free Sans Serif Typeface, designed by Christian Robertson for Google. Roboto should be used if Museo Sans is not available primarily in digital supports. System typeface Verdana Verdana should only be used when the primary font isn t available and only when system fonts are mandatory (for instance, s). Museo Sans 900 Bold Museo Sans 700 Medium Museo Sans 500 Regular Roboto Bold Roboto Regular Verdana Bold Verdana Regular abc ABC 123 abc ABC 123 abc ABC 123 abc ABC 123 abc ABC 123 abc ABC 123 abc ABC 123 AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz AaĄąBbCcĆćDdEeĘęFfGg HhIiJjKkLlŁłMmNnŃńOoÓó PpRrSsŚśTtUuWwYyZzŹźŻż &# $ ƒ ¹²³ *½¼¾% \/ - _ μ + = ± ^<> ~ l àáâãäåææçèéêëìíîïıłñò óôõöøœœššßùúûüýÿžðþ ÀÁÂÃÄÅÆÆÇĐÈÉÊËÌÍÎÏŁÑ ÒÓÔÕÖØŒŠÙÚÛÜÝŸŽĐÞ AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz AaĄąBbCcĆćDdEeĘęFfGg HhIiJjKkLlŁłMmNnŃńOoÓó PpRrSsŚśTtUuWwYyZzŹźŻż &# $ ƒ ¹²³ *½¼¾% \/ - _ μ + = ± ^<> ~ l àáâãäåææçèéêëìíîïıłñò óôõöøœœššßùúûüýÿžðþ ÀÁÂÃÄÅÆÆÇĐÈÉÊËÌÍÎÏŁÑ ÒÓÔÕÖØŒŠÙÚÛÜÝŸŽĐÞ AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz AaĄąBbCcĆćDdEeĘęFfGg HhIiJjKkLlŁłMmNnŃńOoÓó PpRrSsŚśTtUuWwYyZzŹźŻż &# $ ƒ ¹²³ *½¼¾% \/ - _ μ + = ± ^<> ~ l àáâãäåææçèéêëìíîïıłñò óôõöøœœššßùúûüýÿžðþ ÀÁÂÃÄÅÆÆÇĐÈÉÊËÌÍÎÏŁÑ ÒÓÔÕÖØŒŠÙÚÛÜÝŸŽĐÞ AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz AaĄąBbCcĆćDdEeĘęFfGg HhIiJjKkLlŁłMmNnŃńOoÓó PpRrSsŚśTtUuWwYyZzŹźŻż &# $ ƒ ¹²³ *½¼¾% \/ - _ μ + = ± ^<> ~ l àáâãäåææçèéêëìíîïıłñò óôõöøœœššßùúûüýÿžðþ ÀÁÂÃÄÅÆÆÇĐÈÉÊËÌÍÎÏŁÑ ÒÓÔÕÖØŒŠÙÚÛÜÝŸŽĐÞ AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz AaĄąBbCcĆćDdEeĘęFfGg HhIiJjKkLlŁłMmNnŃńOoÓó PpRrSsŚśTtUuWwYyZzŹźŻż &# $ ƒ ¹²³ *½¼¾% \/ - _ μ + = ± ^<> ~ l àáâãäåææçèéêëìíîïıłñò óôõöøœœššßùúûüýÿžðþ ÀÁÂÃÄÅÆÆÇĐÈÉÊËÌÍÎÏŁÑ ÒÓÔÕÖØŒŠÙÚÛÜÝŸŽĐÞ AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz AaĄąBbCcĆćDdEeĘęFfGg HhIiJjKkLlŁłMmNnŃńOoÓó PpRrSsŚśTtUuWwYyZzŹźŻż &# $ ƒ ¹²³ *½¼¾% \/ - _ μ + = ± ^<> ~ l àáâãäåææçèéêëìíîïıłñò óôõöøœœššßùúûüýÿžðþ ÀÁÂÃÄÅÆÆÇĐÈÉÊËÌÍÎÏŁÑ ÒÓÔÕÖØŒŠÙÚÛÜÝŸŽĐÞ AaBbCcDdEeFfGgHhIiJjKk LlMmNnOoPpQqRrSsTtUu VvWwXxYyZz AaĄąBbCcĆćDdEeĘęFfGg HhIiJjKkLlŁłMmNnŃńOoÓó PpRrSsŚśTtUuWwYyZzŹźŻż &# $ ƒ ¹²³ *½¼¾% \/ - _ μ + = ± ^<> ~ l àáâãäåææçèéêëìíîïıłñò óôõöøœœššßùúûüýÿžðþ ÀÁÂÃÄÅÆÆÇĐÈÉÊËÌÍÎÏŁÑ ÒÓÔÕÖØŒŠÙÚÛÜÝŸŽĐÞ Hello Welcome!

23 PATTERNS Section 2 Construction 45 The pattern construction system is created by replicating the logo elements.

24 PATTERNS Section 2 Construction 47

25 PATTERNS Section 2 Construction 49

26 IMAGERY Section 2 Construction 51 The imagery should use powerfull images from the region to convey the specific message.

27 LOGO MISUSE Section 2 Construction 53 It is important to use the logo as described in these, to preserve its consistency, integrity and create a stronger identity. In these pages are some examples of the logo s possible misuse and likely mistakes. Do not distort or warp the Logo in any way. Plain colors are part of the identity structure, don t use gradients in the logo or in the communication system. Do not use the branch name without the main wordmark. Do not outline the logo. Museo Sans is the typography used in the wordmark - don t replace it. Do not use other colors on the logo. Do not change the positions of the logo elements. Do not use any sort of effects on the logo. Do not add extra elements to the logo. Do not manipulate the elements of the icon. Do not use effects such as drop shadows, bevels or emboss in the logo. Do not rotate the logo; use only the horizontal and vertical versions.

28 3 SECTION 3 APPLICATIONS The graphic identity is more than just its logo, typeface or colors, it extends in how it s used across all media applications. In this document you can find a range of communication materials and application examples. It illustrates and visually explains a correct use of the logo and all its graphic materials. Applying these principles will create a stronger communication and a more effective identity. This document is divided in 3 sections: 1. Institutional 2. Merchandising 3. Advertising Section 3 Applications 55

29 INSTITUTIONAL STATIONARY Section 3 Applications 57 The stationary is, without a doubt, one of the main pieces of an institutional communication, it is important that all remain coherent. Stationary materials are always an expanding family, when creating new pieces consistency should always be taken in account. As stated, different new pieces can be added to the stationary, since these mediums function as a group, it is advised to use the same scale of the logo to reinforce consistency. In the following example pages (including: A4 letterhead, envelope, business card) the logo has always the same scale. The wordmark should maintain the same scale proportion of the logo. The information texts with contact are in Museo Sans bold and regular with 7pt size / 8pt of leading. Zhasulan Karabaldinov / CEO Alikhanov Street 4,, Kazakhstan t ) info@visitqaragandy.com Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Lorem ipsum dolor sit amet, cons ectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Lorem ipsum dolor sit amet, cons ectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.lorem ipsum dolor sit amet, cons ectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.lorem ipsum dolor sit amet, cons ectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. nulla facilisi. Lorem ipsum dolor sit amet, cons ectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Zhenis Bagisbekov Manager t. +7 (7212) info@visitqaragandy.com Alikhanov Street 4,, Kazakhstan Zhasulan Karabaldinov / CEO Alikhanov Street 4,, Kazakhstan t ) info@visitqaragandy.com

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31 INSTITUTIONAL WEBSITE Section 3 Applications 61 Online is one of the most important means of communication. It is essential to maintain the identity coherence between printed materials and digital formats. The s website could easily be transformed into the center of the communication strategy. Its communication and design should always take in account principles of the identity itself and functionality. Images also play an important part in the s communication system, showing what the really is, creates a door to captivate visitors. Images should be used in large scale filling its medium with the focus on what it wants to express.

32 INSTITUTIONAL URBAN INSTALLATION Section 3 Applications 63 Example of how to use the logo in large scale in urban spaces. Extra functionalities can be added to the object, such as wifi. The shape can also be done horizontally to create a bench.

33 INSTITUTIONAL URBAN INSTALLATION Section 3 Applications 65 The size of the logo should be used in accordance to its purpose. Balance should be guaranteed between the logo and layout, if used has a signature, it should have the same proportion equilibrium has illustrated. The exception is when the icon is used as an illustration piece. The figure of the triangle plays a center role in the s Identity. It s the shape that will identify the.

34 INSTITUTIONAL URBAN INSTALLATION Section 3 Applications 67 The size of the logo should be used in accordance to its purpose. Balance should be guaranteed between the logo and layout, if used has a signature, it should have the same proportion equilibrium has illustrated. The exception is when the icon is used as an illustration piece. The figure of the triangle plays a center role in the s Identity. It s the shape that will identify the.

35 MERCHANDISING STICKERS PHONE COVERS Section 3 Applications 69 The merchandising materials should take advantage of the identity s imagery materials for a more expressive communication. People of QA R AG A N DY R EG I O N Business of QA R AG A N DY R EG I O N Cities of QA R AG A N DY R EG I O N Shapes of QA R AG A N DY R EG I O N Industry of QA R AG A N DY R EG I O N

36 MERCHANDISING PINS Section 3 Applications 71

37 MERCHANDISING TROPHY Section 3 Applications 73 Example of how to use the logo in a trophy format. Alternatively, the logo can be extruded to also create a trophy.

38 MERCHANDISING FLIP FLOPS Section 3 Applications 75

39 MERCHANDISING TOTE BAGS T-SHIRTS Section 3 Applications 77

40 MERCHANDISING SNAPBACK CAP Section 3 Applications 79

41 MERCHANDISING WINTER HAT Section 3 Applications 81

42 MERCHANDISING TOTE BAGS T-SHIRTS Section 3 Applications 83 Advertising materials are more creative and therefore have looser rules, regarding its layout. Nonetheless the logo should be used as much as possible in same position, as a signature.

43 ADVERTISING MUPI Section 3 Applications 85 An example that sets the basic structure of an advertisement layout. Logo should have a fixed position across all mediums and defines the grid. The center graphic element, (in this case the triangle) should have around one third of the medium size. The text box can be moved freely in the composition but it should always be over the center graphic element. The margin created by the logo sets the alignment for extra elements, such as the website address. Depending on the subject of each support the color from the logo should match with the center visual element Moves Freely always over the triangle Medium 1/3 Centered

44 ADVERTISING OUTDOOR Section 3 Applications 87 The size of the logo should be used in accordance to its purpose. Balance should be guaranteed between the logo and layout, if used has a signature, it should have the same proportion equilibrium has illustrated. The exception is when the icon is used as an illustration piece. The figure of the triangle plays a center role in the s Identity. It s the shape that will identify the.

45 Section 3 Applications 89 Advertising materials are more creative and therefore have looser rules, regarding its layout. Nonetheless the logo should be used as much as possible in same position, as a signature.

46 ADVERTISING STREET SIGN Section 3 Applications 91

47 ADVERTISING PUBLIC TRANSPORT Section 3 Applications 93

48 ADVERTISING BICYCLE PARKING Section 3 Applications 95

49 01 MAY 2018 v1.0