Standards Manual

PROJECT 4:

GRAPHICS STANDARDS MANUAL

for Tandura Center for Arts and Culture

EUN BEE CHO | GRPH 3B19 | GRAPHIC DESIGN 4 4/11/14

2 3

GRPH 3B19 | GRAPHIC DESIGN 4 GRAPHICS STANDARDS MANUAL

Table of contents0.0 Introduction

1.0 Visual Mark of Identity

1.1 Development

1.2 The Finals

2.0 Colour Palette

2.1 Primary Colours

2.2 Secondary Colours

3.0 Usage of Visual Mark

3.1 Bufferzone

3.2 Size Restriction

3.3 Improper Usage

4.0 Applications

4.1 Business Cards

4.2 Letterheads

4.3 Envelopes

4.4 Animation

4.5 Signage

5.0 Colophon

6

20

22

23

24

26

28

30

36

44

52

56

4

62

4 5


THE RESEARCH PROCESS

Tandura Center for Arts and Culture is an organization

that fuels creativity, expression, and passion. With its

collection of complex installations, wild performances,

and contemporary art of all kinds, Tandura strives to

allow people of all ages and backgrounds to bring their

ideas into fruition and to make the impossible possible.

Developing and rationalizing Tandura Center’s own

unique identity meant that different corporate brands,

similar to Tandura, were to be explored first for grounds

to how corporate branding works. Three successful

similar organizations: Center Pompidou in France, Tate

in London, and MoMA in New York were researched

and scrutinized. The three organizations were found to

have differences in their visual idenity, but also found

were common grounds in terms of what their identities

represented and the kinds of visual language that were

used throughout to successfully communicate their

messages.

0.0 INTRODUCTION

6 71.0 VISUAL MARK OF IDENTITY 1.1 DEVELOPMENT


EARLY DEVELOPMENT OF LOGO

Early concept sketches of the logos used keywords

such as “dynamic”, “energetic”, and “diverse” as the

framework for the pictorial and typographic elements.

The process included experimentations with the form

of the typography, including playing with sizes and

distortions. Instead of literal pictorial representations

for signettes, more symbolic ideas were depicted due

to the diverse nature of the organization.



WORDMARKS

One of the considerations for the final wordmark

used overlapping, stretching, and varying the size of

the typography to communicate the multi-faceted

and versatile ethos of the organization; Colours were

also overlapped on top of each other to re-iterate the

message.



SIGNETTES

Signettes were the less regarded choices for the final

logo due to the complexity of Tandura being difficult

to represent pictorially. Hence, the concepts for most

signettes had to be extremely abstracted.



FINAL CONCEPT

The final concept chosen to elaborate further derives

from one of the ideas from the signettes. Instead of

simply just using the “T”, the entire initials are trans-

formed into the layers of vibrating lines to make up the

dynamic wordmark. From then on, the arrangement

and weight of the layers were played around with.



ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnop

1234567890 (!@#$%^&*)

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnop

1234567890 (!@#$%^&*)

CHOICE OF TYPOGRAPHY

Sans-serif fonts were considered above any kind of

ornate serif fonts, as serifs wouldn’t lend itself to

fit Tandura’s modern identity. For the wordmark, a

grotesk typeface was regarded since a more geo-

metric font would help to channel the vibrancy of

the lines more evenly to the viewer. The secondary

typography uses a combination of condensed and

light fonts of the same family to contrast with the

wordmark.

Futura

Univers



VARIATIONS

While the full logo always uses the “base” wordmark,

different textured variations of the wordmark would be

used as supporting elements to the different branches

of Tandura.



INITIAL EXPERIMENTATIONS

Initial experimentation mostly involved the position-

ing of the sub-headings alongside the wordmark. The

biggest issue of positioning the two lines of text was

due to balance: Asymmetrical arrangement of the sub-

headings created distracting spaces in between the

form and interrupted any tertiary elements surrounding

it. Hence why a more symmetrical form was chosen to

constitute the final logo.

20 211.0 VISUAL MARK OF IDENTITY 1.2 THE FINAL


FINAL LOGO

The wordmark and the subheads are centered to

create a near solid form. The word “Tandura Center”

is emphasized with a thicker condensed face while “

for Arts and Culture” is tertiary, using a light roman.

22 232.0 COLOUR PALETTE 2.2 SECONDARY COLOURS


2.1 PRIMARY COLOURS

SECONDARY COLOURS

There are only four secondary colours shown in this

manual. In reality, there would be much more depend-

ing on how many branches the company decides to

implement. Each field colour represents a different

section of Tandura, such as purple for installations, and

red for theatre/performance arts. In this case, the colour

white would act as the accent colour against the repre-

sentative field colours.

C: 47

M: 77

Y: 0

K: 0

C: 66

M: 0

Y: 26

K: 0

C: 6

M: 100

Y: 67

K: 0

C: 65

M: 0

Y: 98

K: 0

R: 148

B: 88

G: 164

R: 62

B: 192

G: 197

R: 225

B: 28

G: 75

R: 98

B: 188

G: 72

C: 0

M: 0

Y: 0

K: 100

C: 0

M: 0

Y: 0

K: 0

R: 0

B: 0

G: 0

R: 225

B: 225

G: 225

PRIMARY COLOURS

Tandura Center for Arts and Culture has many branch-

es/factions that would be identified with each having

their own accent colours. However, Tandura’s overall

identity would consist of black and white, as those two

“colours” are considered neutral and universal in con-

trast to the array of playful colours that would apply to

its individual sections.

PMS:

3115 C

PMS:

258 C

PMS:

1935 CPMS:

Black 6 C

PMS:

7485 C

PMS:

361 C

24 253.0 PROPER USAGE OF VISUAL MARK 3.1 BUFFERZONE


BUFFERZONE

The size of the bufferzone is determined by the first

three letters of the subheading “TAN”. The boundaries

are consistent from all four directions.

26 273.0 PROPER USAGE OF VISUAL MARK 3.2 SIZE RESTRICTION


SIZE RESTRICTION

Because the amount of details in the wordmark and

the fineness of “for Arts and Culture”, the logo should

be no less smaller than three fourths of an inch, any

smaller would result in the intricacies becoming lost

and start to cause optical strain. Therefore the preferred

size is slightly larger than the minimum.

0.75 in

54 px

Minimum print size

Minimum digital size

85 px

Preferred digital size

28 293.0 PROPER USAGE OF VISUAL MARK 3.3 IMPROPER USAGE


IMPROPER USAGE

Do not use the logo without the TCAC wordmark.

Do not stretch, skew, or distort the logo.

Do not rotate the logo. The full logo (wordmark and

subheadings) should always be kept in a horizontal

orientation.

Do not enclose the logo within any shape that could

be mistaken as a part of the logo.

30 314.0 APPLICATIONS 4.1 BUSINESS CARDS


SECONDARY ELEMENTS

As a part of Tandura’s identity, the stationery of each

branch has it’s own supporting textural element, flow-

ing through the layouts. The use of these elements are

very minimal, only seeping through the edges and not

overpowering the other main elements in any way.



Front Back

2 In

3.5 In

George StroumboulopoulosPaints and Sculptures GalleryManager

Tel: 647-882-7169 Fax: 9876543 [email protected] www.tanduracentre.com

5664 Bright Rise, Salt Chuck Quebec, Canada GDW 1J2

*At 100% size



Gene LeeDepartment of SkatingInstructor



George StroumboulopoulosPaints and Sculptures GalleryManager



Ryan TanInstallations GalleryManager



Eli DirkxDepartment of Performance ArtsInstructor



36 374.0 APPLICATIONS 4.2 LETTERHEADS



5664

Bri

gh

t R

ise,

Sal

t C

hu

ck

Qu

ebec

, C

anad

a

GD

W 1

J2

Dear Mrs. Blank,

27/08/14

Jenny Lee2202 Kipling Avenue, Toronto, Ontario M9W 3Z9

1.5 in

0.5 in

0.5 in

11 in

8.5 in

*Scaled down 60%

Front Back




5664

Bri

gh

t R

ise,

Sal

t C

hu

ck

Qu

ebec

, C

anad

a

GD

W 1

J2

44 454.0 APPLICATIONS 4.3 ENVELOPES



194 AutumnHill Blvd.Thornhill, OntarioCanada L4J 8Y7

4.25 in

2 in

9.5 in

0.7 in 2.1 in

*Scaled down 70%

Front Back

52 534.0 APPLICATIONS 4.4 ANIMATION


ANIMATION SEQUENCE

The animated wordmark is drawn layer by layer, gradu-

ally adding more lines until “TCAC” is fully formed. The

subheadings would fade in at the end to form the entire

logo. The animated logo used in the webpage would

use its neutral base colour, black only.

54 554.0 APPLICATIONS 4.4 ANIMATION


WEB PAGE

The animated logo would be applied to the web page

on the upper left corner. This interface would allow any

future additional branch to be added into the built-in

colour coded navigation bar.

STALLATIONS THEATRE

56 574.0 APPLICATIONS 4.5 SIGNAGE


SIGNAGE

The tertiary application is the design and installation

of a wayfinding system. The navigation sign would

be paired with a banner of it’s respective faction, and

colour coded as well to allow them to be easily iden-

tifiable. The navigation signage is approximately two

thirds of the height of the average adult and would be

leveled and positioned to the eye level.

40 in

20 in68 in



PERFORMANCE THEATRE

62 635.0 COLOPHON


Printing Paper: Pastel Card Stock 9 x 12 inSoftwares: Adobe InDesign CS5 Adobe Illustrator CS5Typefaces:Futura MediumUnivers LT Std

Standards Manual

Documents

Transcript of Standards Manual