Friends of the Earth. Identity guidelines

Transcription

1 Friends of the Earth Identity guidelines January 2012

2 Contents Hello 3. Seeing things differently our brand vision 4. How we speak a different tone of voice 5. How we look 6. The brand toolkit 7. The logo and strapline 8. The portrait logo 9. Colour options 11. Monotone and reversed logos 12. Logo usage Don ts 13. Exclusion zone 14. Logo size and minimum size 15. Logo size for electronic media 16. Logo positioning and co-branded material 17. Smallprint 18. Typefaces 19. Primary and secondary fonts 20. The primary colour palette 21. The secondary colour palette 22. Tints 23. Colour combinations 24. The keyline 25. Photography 26. Examples 41. Print 47. Our name 50. How we write 51. Accessibility guidelines for print 55. and online January

3 Hello Welcome to the brand guidelines for Friends of the Earth. Our guidelines have been created to give you, as a creative person, all the help you ll need to apply our new brand across all media and channels. Friends of the Earth has an incredible heritage and reputation built up over 40 years of successful environmental campaigning. It really has been at the forefront of bringing tangible, beneficial change to our world. Ask yourself, without Friends of the Earth would we have had the Climate Change Act? Doorstep recycling? Environmental matters on the mainstream public and political agendas? In short, Friends of the Earth is one of the world s great environmental brands. We have a lot to live up to but we cannot rest on past successes. Friends of the Earth has to move forwards and, as an organisation, it is in a great place to tackle head-on the issues that affect the future of the planet. Our brand that is to say the way we communicate our message to our audiences must reflect this. Our brand is our shop window. It is how the world out there sees us. It plays a huge part in how we are perceived by our audiences. It is the embodiment of what we want people to feel about us. By applying these guidelines consistently across all our communications channels we speak with a single, unified voice. It s a voice that s different, that offers ideas and solutions, that s relevant to people today and the lives and concerns that they have. We need people to hear that voice. And these guidelines will give you the tools to make sure they do. Have fun, see things differently and most importantly, let s achieve some real long-lasting change. I know we will. Andy Atkins Executive Director Friends of the Earth January

4 Seeing things differently our brand vision Science tells us that the planet is facing a deepening environmental crisis of our own making a planetary emergency you could say. Sounds all doom and gloom, doesn t it? But it s not. We know the amazing, sustainable solutions are out there and we ve never had a greater opportunity to achieve them. It s our job to make sure they get put in place so the planet and everybody on it can look forward to a healthy, sustainable future. Friends of the Earth has the vision to make that happen. We see things differently. We see ideas, solutions, fresh perspectives, ways of living that will lead to a new, positive relationship between people and the environment. We see the well-being of the planet and the wellbeing of all us on it as being one and the same, and by working together we can make it happen. Our brand is relevant to people s lives now. And the way we express ourselves in our communications reflects that. We re friendly, not exclusive. We re fun, not preachy. We re for everybody in society not just committed environmentalists. We re experts, not just idealists. We re realists, not just dreamers. And the creative expression of our brand in these guidelines reflects that. It s different from what people may expect from Friends of the Earth because Friends of the Earth is different from what people expect. It s relevant. Fun. Colourful. Intelligent. Approachable. Fresh. Modern. It s a brand that looks different. It s a brand that sounds different. It s a brand that see things differently. January

5 How we speak a different tone of voice How we speak is more than the words we use it s the style, body-language or soundtrack to what we say. It s the way we come across. And it profoundly influences how people feel about what we re saying. Maintaining a consistent tone means we can: Have a unified voice across all our communications Sticking to a similar tone helps build our audiences familiarity and trust. Engage more people Our tone can help improve the impression people have of us if we talk to them in ways that are relevant, interesting and understandable. Stand out from the crowd A distinctive tone can help people recognise us. We see things differently and we need to make this clear in our tone. We re positive about humanity s ability to get us out of the hole we re in: we have knowledge and experience to draw on, and we believe that if lots more people work with us we can win. So our tone should generally be friendly, upbeat and authoritative. Friendly Warm, welcoming, direct, simple, open-minded, relevant, contemporary. Upbeat Positive, practical, fresh, creative, inspiring. Authoritative Knowledgeable, trustworthy, credible, realistic, urgent. For more guidance on how to bring to life our brand through the way we write, turn to page 51. January

6 How we look ➊ Logo the logo should be visible on all materials. Generally the logo and strapline are positioned together as a block. ➋ Fonts we have two main fonts, our bespoke headline font and a sans serif font for body copy. ➌ Colours we use bold, primary coloured backgrounds with one or two additional, complimentary colours per product/campaign. ➍ Keyline the keyline gives our brand a distinctive and consistent look. The keyline should be simple and instantly recognisable. ➎ Photography photography should be bold and uncluttered. ➏ See things differently the narrative of the piece should demonstrate verbally or visually the problem or the solution of seeing things differently. ➋ ➎ How can we ensure clean water for future generations? ➍ ➌ Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed sit amet erat vitae dolor vulputate dapibus. Etiam sit amet mauris neque, facilisis accumsan erat. Proin at mi id justo ullamcorper ornare. Aenean lorem massa, hendrerit eu commodo et, ➊ ➏ January

7 The brand toolkit LOGO KEYLINE COLOUR ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz TYPEFACES photography January

8 The logo and strapline Our Logo Our logo consists of the bagel and friends of the earth. The strapline is see things differently. Our logo should be used with the strapline on all materials, except when it needs to be used at a small size. If the logo is between 40mm and 25mm wide, it should be used without the strapline. Please note: our logo is the only place where we use lower case instead of capital letters in the name Friends of the Earth. January

9 The logo and strapline Our portrait logo The portrait logo may be used as a secondary option where necessary and the strapline must sit separately from it in a complementary position. see things differently January

10 The logo and strapline Cymru, Northern Ireland and local groups Our portrait logo cyfeillion y ddaear cymru The portrait logo is the default style for any logo with additional text or names, such as Northern Ireland, Cymru and local groups. The strapline should sit separately from the logo in a complimentary position. cymru see things differently Manchester see things differently Abergavenny & Crickhowell see things differently Northern Ireland see things differently January

11 The logo Colour options These are the four logo colourways and their usage should reflect the main colour(s) used in a product or campaign. January

12 The logo Monotone and reversed logos Monotone and duotone logos may be used where appropriate. When a two-colour logo is used on a coloured background, please ensure the words friends of the earth remain the most prominent part of the logo. January

13 The logo Logo usage DON T friends of the earth shop Never stretch or distort the logo, always resize it proportionately Never use a dark logo on a background that is too dark; always make sure there is enough contrast for the logo to really stand out Don t alter or add to name/logo Don t alter or resize any one part of the logo Never use a light logo on a background that is too light; always make sure there is enough contrast for the logo to really stand out Don t change the colour combinations January

14 The logo Exclusion zone x x x x x In order to create maximum impact our logotype must be surrounded by a clear area, as shown above, in which nothing else may appear. The minimum exclusion zone is based on the x height as indicated in red. The x height is the distance from the top of the circle to the bottom of the words friends of. January

15 The logo Logo size and minimum size A2 (420mm x 594mm) logo width = 90mm A4 (210mm x 297mm) logo width = 50mm Minimum sizes To ensure legibility, the logo should not be reproduced any smaller than the sizes below. 50mm Logo with strapline minimum logo width = 35mm 90mm A5 (148mm x 210mm) logo width = 44mm 35mm A3 (297mm x 420mm) logo width = 65mm 44mm Logo without strapline minimum logo width = 25mm 65mm A6 (105mm x 148mm) logo width = 35mm 25mm 35mm January

16 The logo Logo size for electronic media 90px The logo should always link to the Friends of the Earth homepage. 200px Screen size = 800 x 600 pixels logo size = 200 pixels wide x 90 pixels high January

17 The logo Logo positioning and co-branded material The preferred position for the logo is either in the bottom left-hand corner or in the top left-hand corner of the page. When communication materials are jointly branded, we need to consider how we combine these logos carefully, making sure that they don t fight each other for attention. Additional logo Additional logo January

18 Smallprint Legal, charity and printer information Smallprint for Ltd Friends of the Earth Limited Smallprint for Trust Friends of the Earth Trust Limited, a registered charity Smallprint for Trust and Ltd Friends of the Earth Trust Limited, a registered charity and Friends of the Earth Limited It is necessary to include our charity/company information on all materials, but the information will be different depending on the project confirm which information is needed with the project manager. If data collection is included in the piece there will be some legal smallprint required confirm what information is needed with the project manager. Make sure the correct paper/printer information and date is on all printed material confirm which paper/printer information is needed with the print manager. Printer information Our paper is totally recycled and our printers hold [EMAS/ISO14001 delete where applicable] certification which means they care about the environment. January Friends of the Earth Trust Limited, a registered charity Our paper is totally recycled and our printers hold EMAS certification which means they care about the environment. January The smallprint should be typeset in the same font as the body copy and the leading should be set to Auto. The smallprint should line up with the logotype, as shown opposite, and should not be smaller than 5pt on any material. January

19 Typefaces Our headline/display font Friends of the Earth (FOE Display) ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Our Friends of the Earth headline font has been especially created for us, it is called Friends of Earth. This font gives us a friendly voice that is distinctive and individual. It should be used boldly and sparingly on communication materials such as on covers, ads, posters and where distinctive headlines are needed for the most important message. Headlines should be kept short for maximum impact and used in conjunction with the primary typeface. This font will be available to anyone creating external documents and should therefore be used for all headlines on for examples briefings and reports. If you are unsure how best to use, please consult our Creative Communications team. January

20 Typefaces Primary and secondary body copy fonts Primary FS Albert Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz FS Albert Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Secondary Arial Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz A body copy font should be used for extended reading. 1 Body copy 2 Subheads 3 Pull quotes Please read the descriptions to the right to determine which body copy font to use. If you are unsure, please consult our Creative Communications team. Primary typeface FS Albert should be used for public facing marketing materials, such as publications and professionally printed campaign materials. FS Albert can be installed on your computer if you need to use it. Secondary typeface Arial should be used in all other instances and if FS Albert is unavailable. We commonly use two weights of Arial; Regular and Bold. Italics should be used sparingly for things like book and magazine titles or television programmes, names of ships, and scientific species names. See also page 55. Arial should also be used for word-processed materials, such as briefings, letters and faxes, as well as for powerpoint presentations and s. January

21 Colour The primary colour palette Pantone 382 C45 M0 Y100 K0 R155 G197 B30 Pantone 2915 C57 M7 Y0 K0 R107 G188 B235 Our colour palette is one of the core elements of our brand. The bright colour palette will ensure all our materials will have a high impact and will be recognisable as our brand. No other colours may be used. HEX #9bc51e HEX #6BBceb Primary palette Pantone 109 C0 M8 Y100 K0 R255 G215 B58 Warm Red C0 M75 Y90 K0 R249 G66 B58 There are four primary colours green, red, blue and yellow. For each campaign one primary colour should be the lead colour and should be used on all materials throughout the campaign. Use the most impactful colour that works appropriately for the campaign. HEX #Ffd73a HEX #F9423A The primary palette should be used as the core colours of our brand. For large blocks of colour and where headings need to stand out. Web colours For web and screen based applications please use the Hex formulas. For maximum legibility please use dark contrasting type. January

22 Colour The secondary colour palette Pantone 2975 C30 M0 Y05 K0 R178 G225 B250 Pantone 1375 C0 M36 Y100 K0 R255 G156 B59 White C0 M0 Y0 K0 R255 G255 B255 The secondary colours should be used as a complementary palette to the primary palette. Colours should be limited to a combination of two or three from the primary and/or secondary palette per piece of communication. HEX #B2E1FA HEX #ff9c3b Web colours Pantone 476 C57 M80 Y61 K43 R58 G43 B30 Pantone 350 C79 M0 Y100 K75 R33 G61 B23 Pantone 427 C0 M0 Y0 K20 R206 G215 B223 For web and screen based applications please use the Hex formulas. HEX #3A2B1E HEX #213D17 HEX #Ced7df Pantone 387 C10 M0 Y80 K0 R222 G242 B89 Pantone 123 C0 M20 Y100 K0 R255 G177 B55 Pantone 431 C20 M0 Y0 K80 R56 G68 B77 HEX#38444D HEX #DEF259 HEX #FFB137 Pantone 354 C85 M0 Y100 K0 R0 G168 B94 Pantone 2757 C100 M82 Y0 K30 R0 G22 B72 Black C0 M0 Y0 K100 R0 G0 B0 HEX #00A85E HEX # January

23 Colour Tints 100% 100% 100% 100% 100% 100% 100% 100%100% 100% 100% 90% 90% 90% 90% 90% 90% 100% 90% 90% 90% 90% 90% 90% 90% 90% 90% 90% 90% 90% 90% 80% 80% 80% 80% 80% 80% 100% 80% 80% 80% 80% 80% 80% 80% 80% 80% 80% 80% 80% 80% 70% 70% 70% 70% 70% 70% 100% 70% 70% 70% 70% 70% 70% 70% 70% 70% 70% 70% 70% 70% 60% 60% 60% 60% 60% 60% 100% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 50% 50% 50% 50% 50% 50% 100% 50% 50% 50% 50% 50% 50% 50% 50% 50% 50% 50% 50% 50% 40% 40% 40% 40% 40% 40% 100% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 30% 30% 30% 30% 30% 30% 100% 30% 30% 30% 30% 30% 30% 30% 30% 30% 30% 30% 30% 30% 20% 20% 20% 20% 100% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 10% 10% 10% 10% 10% 10% 100% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% Pantone 354 Pantone 382 Pantone 387 Pantone Pantone 123 Pantone 109 Pantone 431 Pantone 2757 Pantone 2915 Pantone 476 Warm Red January

24 Colour Colour combinations Where possible use strong two or three colour combinations including one or more of the primary colours. When more colours are needed (for graphs etc) try to use tints rather than adding new colours. Don t feel the need to incorporate all of the colours in a single piece of design. The examples above show colour combinations as well as the proportions they could be used in, core colour, supporting colour and highlight colour. These colour combinations will give our brand a more distinctive look. core colour highlight colour supporting colour January

25 The keyline Using the keyline Rainforests are being destroyed to feed the UK's farm animals Ignoring climate change will be the most costly of all possible choices,for us and our children Peter Ewins, British Meteorological Office The keyline is a core part of our identity and gives our brand a distinctive, consistent look. The keyline should be used at least once on each material for example a leaflet, magazine, flyer and should not be over-used. It can be the central graphic or it can be a supporting feature. It should be integral to the messaging where this is appropriate. For example see far left rainforests are being destroyed. The combination of the image and keyline forms a clear narrative. In some instances the keyline may be used to form a supporting graphic device that doesn t always have to be conceptual. See Ignoring climate change left. The keyline graphic should be relevant, simple, clean and instantly recognisable. The weight of the keyline should appear consistent across different shapes and sizes. Between 1pt/px and 2pt/px on A4 size depending on the complexity of the shape. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed sit amet erat vitae dolor vulputate dapibus. Etiam sit amet mauris neque, facilisis accumsan erat. Proin at mi id justo ullamcorper ornare. Aenean lorem massa, hendrerit eu commodo et, dignissim eu est vivamus. see things differently see things differently January

26 Photography We see things differently so does our photography Photography is one of our most direct ways of showing how we see things differently. It can provide a fresh perspective and illustrate a positive relationship between people and the environment. Like us our photography is engaging, friendly, upbeat, informative and honest. We can help people see things differently not just in the subject matter, as we often refer to the everyday, but in the way a photograph is shot. It needs to provide a different perspective on the ordinary; show unusual angles, show the positive, jump out of the page and engage the audience. It needs to be bold, clear and uncluttered. Seeing things differently is not about abstract photography, but engaging and emotive; it draws the audience in. Depending on the context, the dominant visual will sometimes be photography and sometimes the keyline. In brochures and magazines not every visual will use the keyline that would be overkill. When we don t use the keyline the photography still needs to enable the audience to see things differently. On the following pages we ve outlined ways to make our brand a springboard for great photography. We won t be able to use all styles outlined on the following pages in every image, but we need to use as many as possible. Our photography needs to express our brand and be technically proficient. It s better to have no photo at all than a bad one. January

27 Photography Photography and the keyline How can we ensure clean water for future generations Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed sit amet erat vitae dolor vulputate dapibus. Etiam sit amet mauris neque, facilisis accumsan erat. Proin at mi id justo ullamcorper ornare. Aenean lorem massa, hendrerit eu commodo et, dignissim eu est. Vivamus nec lectus ac purus fermentum lacinia sed a tortor. see things differently Clear, bold, uncluttered imagery works well with the keyline graphic. see things differently If the bees buzz off so will our food supply Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed sit amet erat vitae dolor vulputate dapibus. Etiam sit amet mauris neque, facilisis accumsan erat. Proin at mi id justo ullamcorper ornare. Aenean lorem massa, hendrerit eu commodo et, Black and white or duotone treatments help to keep visual concepts bold and clear. How can we ensure clean water for future generations? Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed sit amet erat vitae dolor vulputate dapibus. Etiam sit amet mauris neque, facilisis accumsan erat. Proin at mi id justo ullamcorper ornare. Aenean lorem massa, hendrerit eu commodo et, see things differently Cut-outs are a bold and clear treatment as in the example of the child above. The keyline must be accompanied by photography, which should always be used inside the keyline (with one exception see below) ie the keyline should not be presented as a silhouette/graphic, with no content, but always contain photography that provides a fresh perspective. The only exceptions might be a) in the creation of materials for outdoor use (eg at stunts/group events) where the production of keyline photography is demonstrably impractical, b) if the piece of communication is so small that the use of an image within the keyline is impractical, or c) if the piece of communication is mono/duotone in this final case, the keyline can sit alongside and interact with a separate photograph. When a photograph is contained within the keyline, the keyline will help dictate the image choice and provide the context. Together the keyline and the photograph will embody seeing things differently. The photography must be bold, simple, uncluttered and instantly recognisable. January

28 Photography Secondary/supporting photography (without the keyline) The priorities for our photographic style are as follows: 1) Seeing things differently captured in the way an photograph is shot. 2) People must, wherever possible, be in the photograph and be active, not static, interacting with their environment. 3) Photographs must evoke heightened emotions in the audience such as delight, awe, anger, warmth, sympathy, sorrow, curiosity a desire to do something or find out more. 1 Our photography needs to provide a different perspective on the ordinary; show unusual angles, show the positive, jump out of the page and engage the audience. The message should be clear. We are about people, people are the solution, so wherever possible people must be present in photography. When sourcing, editing, shooting or commissioning photography try to: ➊ Be relevant and positive Use images that illustrate how we are relevant to people s lives now, images people can relate to, that feel familiar. Avoid clichés. Show the tangible benefits we bring to our world. Real solutions and people reaping the benefits rather than pie-in-the-sky illustrations or isolated technology in a field. Shows emotion, a refreshing angle and the benefits of solar-heated water. Subject matter relevant to people s everyday lives. Abstracted turbines in a dull landscape are not inspiring and bear little relevance to people s lives. January

29 Photography Secondary/supporting photography (without the keyline) cont. 12 When sourcing, editing, shooting or commissioning photography try to: ➋ Be engaging 43 Shows emotion and is engaging without being cheesy. The child is also engaging in her environment. Busy image, that is not very clear or engaging; some people will find this view of bees frightening and there are no people in the image. We re friendly, not exclusive. Our photography needs to draw people in, encourage participation and invoke a heightened emotional response. We want to show people responding positively to the natural environment. We want to show the benefits of the environment and make sure our viewers share a positive feeling towards it. ➌ Tell a story A photograph is worth a thousand words. Photographs should, as far as possible, tell a story without the need for a caption. This will draw the audience in. This portrait invokes seeing things differently in the angle and focus used. The prominence of the heater helps tell the story. This portrait does not tell a story and the style does not invoke seeing things differently. It could be used as a supporting but not a lead image. January

30 Photography Secondary/supporting photography (without the keyline) cont. 4 People here are getting on with their lives, despite the flood. Showing the market helps tell the story in a positive way that doesn t cast them as victims. Because of the way this image is cropped (no face to the person) and because it lacks wider context, it also lacks emotion and fails to tell a story. ➍ People should be photographed in context, interacting with their environment. Avoid close ups that cut out the context. Note: as outlined on page 27 when the outline is used the image can be abstract and does not require a context. ➎ People should be alive; moving and interacting rather than static and staged. 5 This girl is really emotive and natural we want to laugh along with her. This image lacks heightened emotion and the crop makes it difficult to see what s going on. January

31 Photography Secondary/supporting photography (without the keyline) cont. 6 ➏ We depict people honestly and positively, with dignity rather than as victims. While we can show the harm done to individuals and communities, the dominant story we re telling is about people taking control, finding solutions, making a positive difference not being victims. The use of flash in this image gives it gravitas and the woman looks like she s in charge of her own destiny. This portrait is too desperate, showing the woman as a victim with no control. ❼ Our photography doesn t just show emotion it must make our audience feel something powerfully. Emotion helps engage people. People don t have to be looking to camera, nor does their whole body have to be in the frame, but the image must still be engaging. Don t crop out the emotion. 7 We re friendly and inclusive; our photography therefore needs to reflect a wide range of people. This image is engaging and we feel the girl s joy as she engages with the wildlife. Despite the interaction between the person and the snail, it is a cold image with no emotion, energy or context. January

32 Photography Style and technical details Shot from an elevated angle and with high saturation this image leaps out of the page. Shooting with the horizon or subject at an angle provides a slightly different perspective. Friends of the Earth photographic style: To make our photography distinctive and to reinforce the idea of seeing things differently we have two lead photographic styles that must be employed wherever possible: angle and saturation. Angle Shoot from below and above to try to gain a fresh perspective anything but straight on. Have the horizon or subject matter at an angle. Experiment. Technical specifications: Cut-outs should always be done by a competent retoucher. The image profile should always be Adobe RGB Images must always be 300dpi and shot at the highest jpeg setting or in RAW format. Images should always be shot in colour. If B&W is needed then the image will be converted later. Saturation Colours should be bold and bright, well saturated and with high contrast. If the photography is flat and lacking in saturation, this can to a certain extent be rectified in post production, but it is always better to shoot with the correct exposure for this effect. Shot from a low angle with depth to the colours. Cut-outs should be done by a competent retoucher. January

33 Photography Practical applications photography online 1 2 Image clearly identifiable within the panel and above the grey text bar. The meaning of and emotion in this image are clear despite the small size. Meaning unclear as focus of image hidden beneath text bar. It s difficult to see what s going on in this image at this size as it s a wide angle shot. Photography online The keyline can be used online where appropriate. This will primarily be for campaign visuals, where keyline visuals are produced offline. The keyline can be used in both the home page hero and secondary page hero panel. For examples of the latter please see page 45. Where a keyline visual is not available or appropriate please use the following guidance: Remember the restrictions of the image dimensions when shooting or selecting an image. It s difficult to create good landscapeoriented images from portraitoriented ones so, when shooting always take landscape versions for the web. ➊ ➋ Hero panel images are 640 x 264px and need to allow for a 65px semitransparent bar across the bottom of the image. All other web files are 313 x 200px, so busy, detailed images will simply not work. Close-ups work well within these constraints. All web files must be adobe RGB 1998 profile, sharpened and saved for web and devices. January

34 Photography Practical applications publications Portrait: A close up portrait works well online and in personal editorial pieces. Portrait in context: A wider angle portrait gives the people a context and so tells a more rounded story. 4 Covers All covers will be designed using the keyline, please refer to page 27 for guidance. Photo stories When covering a photo story or commission for Friends of the Earth please follow the brand guidelines but also bear the following in mind: ➊ ❷ Portraits are essential to any story. Close up portraits are essential for online use where images are small or to accompany a story about a specific person. Portraits in context are important as they tell more of the story and can be used at a larger size in print. ❸ ➍ Scene shots are useful as aspirational and scene setting shots, with which to open a story. They work well as spreads and depict the wider context. Detail shots are useful to aid explanations of the issue or the solution. They are also useful as filler images. A suite of images can be used in editorial articles, so a good variety of images is useful. If an image has been shot to accompany a particular story and it is not good enough quality it will not be used just because it s relevant. Scene: Landscape images are useful for spreads where we want to set a scene, give a sense of large scale or something aspirational. Using a picture at a large size can also help dramatise the content. Detail: Close up images are helpful to explain the detail of an issue or solution, to use as filler images or cut-outs. January

35 Photography Practical applications images without people Images without people: Aspirational landscape images still have a part to play in our brand. They are useful for setting the scene in for example Earthmatters or the Annual Review. These images can be used in features with other supporting imagery. Avoid using them on their own. January

36 Photography Actions The emotion and participation jump out from this image and draw the viewer in to ask, What are they so fired up about? This lady is clearly getting involved and taking a positive interest. The edf-off logo also tells the story. Seeing things differently needs to be expressed in the action itself, not just in the photographic style. The priority needs for action images are listed below and explained in more detail in the following pages: 1) Participatory people engagement is a way of seeing things differently 2) Informative images need a clear message. 2) Intrigue the action and the way it is shot need to be intriguing. 3) Media friendly we need to produce images that will be used by the media. Participatory We re friendly not exclusive and our actions always carry a message to the public and often to Parliament. We need to show the interaction with our audience be it the public or politicians. People are therefore central to any image of an action. Show people positively engaging in actions and avoid disgruntled public, as in the examples opposite. If a famous person such as a politician is present, or if the media are interviewing Friends of the Earth or photographing/ filming us- try to capture them in the shots. Capturing the MP whom we were targeting in this action was incredibly useful. This member of the public looks disgruntled and uninterested in participation; we want to avoid this sort of response. January

37 Photography Actions Informative Photographs must have a clear message contained within the frame of the image. Beware of chopping off messages or crumpled banners. Ensure the Friends of the Earth logo, where used, is clearly visible. Intrigue The message and logo are clearly visible in this image. The banner is crumpled so the message is illegible and logo is hidden. Photographs need a fresh perspective where possible so they demonstrate seeing things differently. This can be achieved in the way the image is shot, such as from an unusual angle and also in people participation. Cows leaping off parliament is intriguing and the public are engaged. The angle of this image provides intrigue and the location is clearly parliament. January

38 Photography Actions Media friendly Portraits The message and location are clear. There is no Friends of the Earth branding, so the image is media friendly. Although clear of overt branding, this image has no message and the location is indecipherable. Actions should not need the Friends of the Earth logo to be recognisable as coming from Friends of the Earth. The media are more likely to use photographs that are not heavily branded. The more the action embodies seeing things differently, the less need there will be for a logo. Shoot images with and without Friends of the Earth branding, to cover both media and Friends of the Earth needs. Location If the location is significant, for example Parliament or the Royal Courts, then ensure it is clearly in shot. Sometimes our actions are all about the politicians supporting a particular campaign. In these cases, the images needed are straightforward portraits. They need to be clean, clear messagedriven portraits of each politician. Of course if the public start taking part, photograph it. Web images Online images must be landscape in orientation and the hero panel images are very wide and shallow. Please therefore shoot images to accommodate these needs see the photography for web section on page 33 for more information. Straightforward portrait of eminent politicians with a clear message. Parliament is also visible in the background. Although the politician and her message are clear, the action and location in the background are lost. January

39 Photography Practical applications campaign images that live the brand On the following two pages are some creative images that fit our brand and some that don t to inspire and guide you. Remember people are better than objects and emotion and vitality are essential. Avoid run-of-the-mill images of bees. Instead we want to show people enjoying the benefits of bees......the fun of picking apples, thanks to the pollination of the apple blossom by bees. Engaging and upbeat, this image is also shot from an interesting angle making use of foliage in the foreground. and This image has energy and warmth the low angle makes it interesting. January

40 Photography Practical applications campaign images that live the brand cont. Avoid shots of technology without people. They are cold and uninspiring. Where it is essential to show the technology, portraits of people with the technology are fine. Images showing the benefits of green technology are spot on. Green technology installation screams jobs so only use in this context. Avoid abstraction, the meaning is unclear and there s little to evoke a powerful emotional response. Images showing people enjoying the benefits of green technology. January

41 Examples Report cover and posters Rainforests are being destroyed to feed the UK's farm animals BEE THE CAUSE Local Groups Action Guide Ignoring climate change will be the most costly of all possible choices,for us and our children Peter Ewins, British Meteorological Office Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed sit amet erat vitae dolor vulputate dapibus. Etiam sit amet mauris neque, facilisis accumsan erat. Proin at mi id justo ullamcorper ornare. Aenean lorem massa, hendrerit eu commodo et, dignissim eu est vivamus. see things differently 1 see things differently January

42 Examples Publications Issue 01, Summer 2012 see things differently The rising cost of energy Energy companies hold all the power Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed sit amet erat vitae dolor vulputate dapibus. Etiam sit amet mauris neque, facilisis accumsan erat. Proin at mi id justo ullamcorper ornare. Aenean lorem massa, hendrerit eu commodo et, dignissim eu est. Vivamus nec lectus ac purus fermentum lacinia sed a tortor. Phasellus euismod facilisis sem in pulvinar. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Mauris nibh tellus, auctor id volutpat vel. Proin quam elit, fermentum ut venenatis vitae, faucibus non nibh. Aliquam mauris nibh, laoreet in lobortis interdum, condimentum imperdiet lacus. Aenean lectus tortor, bibendum eget convallis elementum, pellentesque id lacus. Fusce in mollis neque. Donec sed libero ut sem sodales vestibulum non et arcu. Nulla mattis odio et orci sagittis luctus. Cras ullamcorper viverra auctor. Phasellus nisi turpis, porta consequat pellentesque eu, accumsan quis justo. Duis ultricies tempor dui, ac congue. January

43 tempor tristique. Examples Flyer and DM pack If the bees buzz off so will our food supply and so will these... and so will these... see things differently If the bees buzz off so will our food supply Dear Sir Lorem ipsum dolor sit amet, consectetur adipiscing elit. Proin ullamcorper faucibus elit eu adipiscing. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Curabitur luctus tincidunt cursus. Phasellus varius augue congue sapien egestas a malesuada lacus tincidunt. Vivamus tincidunt, mauris a rhoncus laoreet, purus urna auctor nunc, non rhoncus est odio sed enim. Vestibulum malesuada facilisis blandit. Sed semper massa eget justo egestas sagittis. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Morbi quis nisi sapien. Praesent lacus neque, vulputate id ullamcorper sit amet, fermentum porttitor nulla. Curabitur at pretium nisi. Donec placerat urna sed ante Aliquam dapibus, massa sit amet eleifend fermentum, velit justo lobortis arcu, in placerat neque nisi eu nisl. see things differently see things differently Please see overleaf... January

44 Examples Postcard and banner If the bees buzz off so will our food supply Tell the government to get busy protecting bees Lorem ipsum dolor sit amet, consectetur adipiscing elit. Nulla consectetur vestibulum augue, ut tincidunt tellus lacinia ut. Donec ac dolor sit amet ipsum convallis luctus. Aenean quis nisl metus, nec posuere orci. Viverra id. Phasellus leo lacus, malesuada quis dictum lacinia, tempor quis tellus. see things differently Nam quis tortor nec nisl ullamcorper porttitor. Sed nulla dui, venenatis vitae laoreet vitae, vehicula ac odio. Aliquam volutpat ultricies vehicula. Join our campaign. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Cras a imperdiet erat. Vivamus eu dui porttitor tempus rutrum. Integer in felis ac est rhoncus volutpat. Cras dapibus posuere diam a dignissim. Nunc non malesuada risus Join our campaign at see things differently Our paper is totally recycled and our printers hold EMAS which means they care about the environment. January January

45 Examples January

46 Examples Animated web banner How can we ensure clean water for future generations? How can we ensure clean water for future generations? How can we ensure clean water for future generations? How can we ensure clean water for future generations? Click to find out Click to find out Click to find out Click to find out see things differently see things differently see things differently see things differently January

47 Print production A2 594x420mm A3 420x297mm A4 297x210mm A5 210x148mm A6 148x105mm 1/3 A4 210x99mm Designing and printing with the environment in mind can greatly reduce the environmental impact of a product and cut costs. It can also help us stand out from the crowd and carry our messages in a tangible way. Formats Formats (page size, number of pages and folding / binding) will affect print costs. Seek advice before starting the design process. A sizes (eg A5, A4, A3) reduce waste and are cost-effective formats as many printing presses are formatted to these standard sizes. B sizes (eg B5, B4, B3) are another waste-efficient format which are slightly larger than the A range. Multi-page documents The number of printed pages should be divisible by four as this saves on cost and paper. Papers We always use 100 per cent recycled paper. There are various stocks available, some of which are as white as nonrecycled paper. For a small number of products recycled options do not exist. The next best option is an FSC certified material. Coatings We use uncoated paper as coatings are a waste product in the recycling process. We never use laminate or UV varnish coatings. Inks We always print with vegetable oil based inks, which are now used routinely by sheet fed litho printing companies. These inks are not available for other printing processes. Binding Avoid perfect binding (where the spine is glued) as it is not easy to recycle; consider other options such as saddle stitching (machine stapling) and wire binding. Envelopes Envelopes are now available with non-plastic window film. Other materials Environmentally accredited companies are extremely rare for many non-paper materials. PVC should never be used. The alternatives are: polypropylene, polyester and PE. Although not ideal, they represent the best option and they can be recycled after use. Polypropylene is rigid, Polyester and PE are banner materials. Foamex should be avoided. Instead use a recycled paper based product such as Ultra Board. The jury is still out on the environmental impacts of jute and bamboo, so they are best avoided. T-shirts and bags are a long way from environmental perfection so the best option is to ensure the material used is fairtrade and organic. A2 A4 A6 A5 1/3 A4 A3 January

48 Print production Proofing types There are three main proofing options all with specific purposes and varying costs. 1 Electronic (pdf) proofs The cheapest proof format and normally free as there is no printing involved. Pdf proofs should only be used for checking content, not colour or images since different monitors reproduce colours differently. Changes to artwork at this stage are usually free of charge but should still be avoided. 2 High-resolution printed digital proofs Digital can be used to check content and as a guide for colour and images, although they are not as reliable as wet proofs for the latter. Minor changes at this stage are inexpensive as digital proofs are produced direct from a pdf or design files without producing plates. Mock-ups should always be digital proofs as it is unnecessarily expensive to produce wet proof mock ups. 3 Wet proofs Wet proofs are the most reliable way to check images and colour as they are produced on press with the same paper and inks as the final product. Plates are produced at this stage, so they are a lot more expensive than alternative proofs and any changes incur the additional charge of new plates. The most expedient way of wet proofing is to produce a scatter proof of images which reduces materials and cost enormously. Mock-ups should be made from digital proofs. January

49 Print production Choice of printer The environmental impact of the printing industry is potentially large and diverse. Although strict legislation applies, the onus is on the printing company to identify, understand and comply. A vast majority of printing companies do not do this and it s important to ensure that print work is placed with environmentally responsible companies. We only use printers with the following accreditation: Environmental Management Systems (EMS) An EMS works to the standards set by ISO and these include a thorough knowledge of the company s environmental impact, legislative compliance and improvements via annual targets and objectives. Only around 400 of the estimated 8,000 UK printing companies operate an externally-audited EMS. Greenmark An introductory-level scheme for smaller companies that can be used as a stepping stone to ISO United Kingdom Accreditation Services It is possible to gain ISO via non-regulated auditors. Ensure a company that holds ISO is regulated by UKAS. UKAS regulates the auditors and is the only regulatory body recognised by government. EMAS (Eco Management & Audit Scheme) The only mechanism that allows evaluation of a company s performance. Builds on ISO and has as a focal point an Environmental Statement that must be made publicly available. EMAS demands that important aspects of environmental performance are reported: data is gathered and externally verified before publication. Annual targets for reducing environmental impact are chosen and progress is verified and reported. Friends of the Earth s Creative Communications team can advise on which printers to use. For more information see: January

50 How we write our name Friends of the Earth Friends of the Earth friends of the earth Friends of the earth FOE/FotE/F.O.E The Friends of the Earth When written in text (rather than used as a logo), use a capital F and E and write the rest in lowercase. Never write our name in all lower-case. Never abbreviate it. January

51 How we write Words are just as important as images in the way we present ourselves and our brand. Here s a guide to help you. Our primary tone of voice is friendly, upbeat and authoritative. Strive for this tone Variations What do we mean? Friendly Warm, welcoming, open-minded, simple, direct, relevant, contemporary Say please and thank you. Say it. Type it. Then tell them how the battle was won. We can t always reward people who help us but we can always ask nicely and thank them. It ll make you feel good too. Always write simply and directly. Use short sentences. No more than 20 words. Make it a dialogue. Ask questions. Offer answers. Include words like us, our, we, you and let s to get the conversation started. Avoid long words. If it s more than 10 letters perhaps a simpler word would be better. Many readers have a mental block when it comes to very large or very small numbers. Use everyday comparisons to help others understand big or small numbers. Here s one : There are more footballers in the premiership than there are mountain gorillas in the wild. Talk about your subject in a way that makes it relevant to the reader. Ground the figures in your audience s reality. Cinema popcorn has 34.4 grams of saturated fat becomes Cinema popcorn has as much saturated fat as two English breakfasts. Make an abstract idea into something people can see. Use a picture of popcorn alongside the breakfasts. And instead of saying Generating energy from renewable sources like wind turbines and solar panels will cut costs in the long term, try Everyone is feeling the pain of soaring energy bills making energy from clean, green sources like wind turbines and solar panels could help to cut your costs in the long term so you pay less for the energy you use. Storytelling: You re trying to create new urban myths a widely repeated story with universal relevance whose core message isn t corrupted by the words being changed. A compelling story can be much more involving and inspiring than the presentation of facts. January

52 How we write Strive for this tone Variations What do we mean? Upbeat Authoritative Inspiring, positive, creative, practical, fresh Knowledgeable, trustworthy, credible, realistic, urgent We see things differently. But we also see things positively. Friends of the Earth is about the human race s ability to solve problems. It s old-school to be cynical or gloomy. However, we have to be realistic. If our objectives are long-term or it is going to a while to achieve our goals outline the steps towards that goal. Acknowledge possible difficulties or barriers. Empathise with the I had no idea response. Help your audience be part of the change. Give them something to do now. Normalise taking action by including content that suggests lots of people may be already doing it and that they re making an impact. Add lashings of popular culture or things that are of interest to people in their everyday life. If you can connect Take That to your campaign goal then at least one half of the population will love you for it. Make your writing by using similes or metaphors. Paint pictures with words. People are the solution, not the problem. Friends of the Earth solves problems and offers solutions. If the solution involves large sums of money which will come from taxpayers then make it relevant but trivial eg: If every commuter gave up just one latte each month we could all have a rail network which was twice as fast. Research shows that people are more likely to act to prevent the loss of something they already have than to get something they don t. But asking readers to act to prevent the loss of something needs to be balanced with the need to show they need to act. This ask should ideally be supported by primary sources of research (eg peer-reviewed scientific papers) rather than secondary reports (eg in newspapers or reviews of literature) or other NGO research if you have it. January