IDENTITY GUIDELINES
The IALD identity guidelines introduce and define the visual elements we use to create the new IALD brand; our signature, color, imagery, typography and composition. The following layout examples demonstrate how to consistently apply these elements to create a look and feel that embodies our brand essence The power of light to transform. These guidelines are the result of collaboration among many people, both from within the IALD and from our outside agencies. The elements and examples represent best practices and guiding principles that will help you bring the IALD brand vision to life. IN THE IALD BRAND BOOK, WE DEFINE THE STRATEGIC FOUNDATION OF THE BRAND UPON WHICH THE IDENTITY GUIDELINES ARE BASED. PLEASE CONTACT THE IALD TO REQUEST YOUR COPY.
CONTENTS SIGNATURE BRAND SYMBOL 5 SIGNATURE COMPONENTS 6 TWO-COLOR SIGNATURES 7 ONE-COLOR SIGNATURES 8 PHOTOGRAPHY & SIGNATURES 9 STAGING 10 SUB-BRAND SIGNATURES 12 LOOK AND FEEL TELLING OUR STORY 15 COLOR 16 IMAGERY STYLE 17 IMAGERY CONTENT 20 TYPOGRAPHY 23 COMPOSITION 25
SIGNATURE Dark is a way and light is a place - Dylan Thomas
ONE IDEA DRIVES ALL IALD BRAND ACTIONS AND EXPRESSIONS. IT IS CAPTURED IN OUR BRAND SYMBOL. IT IS THE POWER OF LIGHT TO TRANSFORM. 5 THIS SYMBOL REPRESENTS MORE THAN A PRECISE BEAM OF LIGHT; IT SUGGESTS SIMPLY, YET PROFOUNDLY THE PHYSICAL, EMOTIONAL AND INTELLECTUAL CATHARSIS THAT LIGHT BRINGS FORTH. WE CALL OUR SYMBOL THE PASSAGE. IT IS THE PORTAL THROUGH WHICH WE GLIMPSE THE POSSIBILITY OF TRANSFORMATION.
OUR CORE SIGNATURE IS THE MOST VISIBLE REPRESENTATION OF OUR ORGANIZATION. IT IS COMPRISED OF THREE COMPONENTS: OUR NAME, OUR LOGOTYPE AND THE PASSAGE. 6 FULL SIGNATURE ALTERNATE SIGNATURES OUR FULL SIGNATURE CONTAINS ALL COMPONENTS AND SHOULD BE USED ON ALL COMMUNICATIONS TO EXTERNAL AUDIENCES WHO MAY NOT BE FAMILIAR WITH IALD. ALTERNATE EXPRESSIONS OF THE SIGNATURE MAY BE USED ON INTERNAL OR SUPPORT COMMUNICATIONS OR WHEN SPACE IS RESTRICTED.
OUR SIGNATURE IS ONE OF OUR MOST VALUABLE BUSINESS ASSETS. WE SHOULD STRIVE TO OPTIMIZE ITS IMPACT IN EVERY APPLICATION. THE TWO-COLOR SIGNATURE IS THE PREFERRED VERSION. 7 PREFERRED TWO-COLOR SIGNATURE ACCEPTABLE TWO-COLOR SIGNATURES THE TWO-COLOR SIGNATURE IS MOST EFFECTIVE WHEN STAGED AGAINST A SOLID BLACK BACKGROUND; HOWEVER, IT MAY BE USED AGAINST A WHITE OR AN IALD YELLOW BACKGROUND IF NECESSARY.
A ONE-COLOR SIGNATURE OPTION ALLOWS US TO MAINTAIN CONSISTENCY AND BUILD BRAND RECOGNITION NO MATTER WHAT THE APPLICATION. 8 WHEN REVERSING OUT OF BLACK OR PHOTOGRAPHY, USE THE ALL-WHITE SIGNATURE. WHEN PRINTING AGAINST A WHITE OR LIGHT-COLORED BACKGROUND, USE THE ALL-BLACK SIGNATURE. ALWAYS ENSURE THAT THE BACKGROUND PROVIDES SUFFICIENT CONTRAST TO THE SIGNATURE.
CORRECT USE OF THE IALD SIGNATURE WITH OTHER VISUAL IDENTITY ELEMENTS SUCH AS PHOTOGRAPHY PROTECTS THE INTEGRITY OF THE IALD BRAND. 9 ACCEPTABLE NOT ACCEPTABLE PHOTOGRAPHY IS A KEY COMPONENT OF OUR VISUAL IDENTITY SYSTEM. WHEN PLACING AN IALD SIGNATURE OVER A BLACK-AND-WHITE OR COLOR PHOTOGRAPHIC BACKGROUND, YOU MAY USE EITHER THE ONE-COLOR OR THE TWO-COLOR SIGNATURE. ALWAYS ENSURE THE LEGIBILITY OF THE SIGNATURE.
AS THE PRIMARY VISUAL REPRESENTATION OF OUR BRAND, THE IALD SIGNATURE SHOULD ALWAYS BE STAGED SO THAT IT CONVEYS OUR ASSOCIATION S STRENGTH AND DESIGN EXCELLENCE. 10 X IS THE STANDARD UNIT OF MEASUREMENT THAT WE USE WHEN DETERMINING THE CLEAR SPACE REQUIREMENTS FOR THE IALD SIGNATURE. IT IS BASED ON THE HEIGHT OF THE LETTERS IN OUR IALD LOGOTYPE. USE THIS MEASUREMENT TO DETERMINE PLACEMENT OF THE SIGNATURE RELATIVE TO THE MARGINS OF ANY PUBLICATION, ADVERTISEMENT, SIGN OR OTHER APPLICATION. ALWAYS MAINTAIN THE CLEAR SPACE AROUND THE SIGNATURE BY KEEPING IT FREE FROM OTHER GRAPHIC ELEMENTS SUCH AS TEXT OR IMAGERY.
THOUGHTFUL STAGING OF ALL IALD SIGNATURES COMMUNICATES THE QUALITY OF OUR BRAND MORE CLEARLY, INSPIRING A HIGH LEVEL OF ESTEEM. 11 OBSERVE CLEAR SPACE AND MINIMUM SIZE RULES FOR ALL ALTERNATE SIGNATURE EXPRESSIONS. 6x 4x 2x 4x 4x x x x x x x
OUR SUB-BRAND SIGNATURES ARE USED TO PROMOTE OUR EVENTS AND ACTIVITIES TO BROADEN THE UNDERSTANDING OF IALD S EXPERTISE AND TO ENSURE BRAND RECOGNITION. 12 PREFERRED COLOR ACCEPTABLE COLOR THE IALD ENLIGHTEN SUB-BRAND EMPLOYS THE CORE IALD COLOR, PANTONE PROCESS YELLOW C. COLOR EQUIVALENTS: PANTONE: PROCESS YELLOW C CMYK: 100% YELLOW RGB: 249 RED/ 227 GREEN/ 0 BLUE THE IALD REFLECTIONS SUB-BRAND EMPLOYS PANTONE 151 C (ORANGE). COLOR EQUIVALENTS: PANTONE: 151 C CMYK: 55% MAGENTA/ 100% YELLOW RGB: 255 RED/ 121 GREEN/ 0 BLUE
OUR SUB-BRAND SIGNATURES EMPLOY A VIBRANT, ENERGETIC COLOR PALETTE THAT REPRESENTS OUR SKILL IN EXPLORING ALL OF LIGHT S POSSIBILITIES. 13 PREFERRED COLOR ACCEPTABLE COLOR THE IALD LIRC SUB-BRAND EMPLOYS THE COLOR PANTONE 240 C (PURPLE). COLOR EQUIVALENTS: PANTONE: 240 C CMYK: 21% CYAN/ 90% MAGENTA RGB: 191 RED/ 34 GREEN/ 150 BLUE THE IALD EDUCATION TRUST SUB-BRAND EMPLOYS PANTONE PROCESS CYAN C. COLOR EQUIVALENTS: PANTONE: PROCESS CYAN C CMYK: 100% CYAN RGB: 0 RED/ 159 GREEN/ 218 BLUE
LOOK AND FEEL In the right light at the right time Everything is extraordinary - Aaron Rose, photographer
LIGHT TRANSFORMS. IT CHARGES SIMPLE MOMENTS WITH SIGNIFICANCE AND IT ALTERS THE WAY WE FEEL ABOUT OUR ENVIRONMENT. OUR LOOK AND FEEL PROVIDES THE TOOLS WE NEED TO COMMUNICATE 15 IMAGERY, COLOR, TYPE AND COMPOSITION CREATE EMOTION.
OUR COLOR PALETTE REFLECTS THE CONTRASTS THAT LIGHT ENGENDERS: DARKNESS AND LIGHT. BRIGHTNESS AND SHADOW. THE COLORFUL WORLD AROUND US. 16 OUR COLOR PALETTE CONSISTS OF BLACK, WHITE AND IALD YELLOW. COLOR PHOTOGRAPHY IS THE MEANS USED TO BROADEN OUR COLOR PALETTE. IALD YELLOW COLOR EQUIVALENTS ARE: PANTONE: PROCESS YELLOW C CMYK: 100% YELLOW RGB: 249 RED/ 227 GREEN/ 0 BLUE
OUR IMAGERY STYLE INCLUDES BLACK AND WHITE PHOTOGRAPHY THAT FEATURES DRAMATIC LIGHT AND SHADOW. IT CAPTURES THE PROFOUND NATURE OF LIGHT AND ITS POWER TO TRANSFORM. 17 THE DRAMATIC CONTRASTS IN BLACK AND WHITE PHOTOGRAPHY CAPTURE THE PROFOUND EMOTIONS THAT LIGHT CAN EVOKE. THIS STYLE OF IMAGERY IS ESPECIALLY EFFECTIVE WHEN CONVEYING A METAPHORICAL OR CONTEXTUAL MESSAGE OR WHEN NEEDED TO ADD A HUMAN ELEMENT TO SUPPORT AND ENHANCE A PROJECT S STORY.
VIVID COLOR PHOTOGRAPHY IMBUES OUR BRAND COMMUNICATIONS WITH INTENSITY, EXCITEMENT AND GRAPHIC IMPACT. 18 OUR LOOK AND FEEL RELIES ON PHOTOGRAPHY TO BRING COLOR INTO BRAND COMMUNICATIONS. VIVID COLOR PHOTOGRAPHY CELEBRATES THE ENERGY AND INTENSITY THAT LIGHT MAKES POSSIBLE AND REINFORCES THE IDEA OF THE POWER OF LIGHT. VIVID COLOR PHOTOGRAPHY MATCHES THE INTENSITY OF OUR IALD YELLOW.
SUBTLE COLOR PHOTOGRAPHY EXPRESSES A MORE NUANCED SOPHISTICATION. IT COMMUNICATES THE PROFESSIONALISM AND STATURE OF THE IALD. 19 NOT ALL COLOR PHOTOGRAPHY NEEDS TO BE VIVID. SOME COMMUNICATIONS CALL FOR A QUIETER, MORE NUANCED MESSAGE. SUBTLE COLOR IMAGES THAT CAPTURE THE DRAMA OF LIGHT AND SHADOW RELAY OUR MESSAGE IN A SOPHISTICATED AND UNDERSTATED WAY.
IMAGERY CONTENT: IALD PROJECT WORK IS THE FOUNDATION OF OUR BRAND AND INSPIRATION FOR OUR VISUAL IDENTITY SYSTEM. THIS PHOTOGRAPHY IS OUR GREATEST MESSAGING ASSET. 20
IMAGERY CONTENT: PEOPLE, INTERACTING WITH LIGHT, TOUCHED BY LIGHT, TRANSFORMED BY LIGHT. THESE IMAGES SHOW HOW THE IALD USES THE POWER OF LIGHT TO IMPROVE THE LIVES OF PEOPLE. 21
IMAGERY CONTENT: IMAGES THAT SHOW LIGHT IN THE WORLD AROUND US ARE RICH IN EMOTION. THEY INSPIRE OUR WORK AND OUR COMMUNICATIONS. 22
OUR TYPEFACE, FRUTIGER, VISUALLY SUPPORTS WHAT WE SAY AS AN ORGANIZATION. 23 FRUTIGER 45 LIGHT ABCDEFGHIJKLMNOPQRS TUVWXYZabcdefghijklmn opqrstuvwxyz1234567890 FRUTIGER 55 ROMAN ABCDEFGHIJKLMNOPQRS TUVWXYZabcdefghijklmn opqrstuvwxyz1234567890 OUR TYPEFACE IS FRUTIGER. SIMPLE, STRAIGHTFORWARD AND MODERN, THIS SANS SERIF FONT EVOKES THE GEOMETRY OF MODERN ARCHITECTURE. ORIGINALLY DESIGNED FOR BUILDING SIGNAGE, FRUTIGER IS CLEAN AND HIGHLY LEGIBLE. WE USE ALL UPPERCASE SETTINGS OF FRUTIGER FOR HEADLINES AND OTHER HIGH-LEVEL OR IMPORTANT TEXT TO LEND STRENGTH TO OUR VOICE AS WE STRIVE TO CONVEY THE POWER OF LIGHT. WE MODULATE OUR VOICE BY USING THE DIFFERENT WEIGHTS OF FRUTIGER LIGHT, ROMAN, BOLD AND BLACK. FRUTIGER 65 BOLD ABCDEFGHIJKLMNOPQRS TUVWXYZabcdefghijklmn opqrstuvwxyz1234567890 FRUTIGER 75 BLACK ABCDEFGHIJKLMNOPQRS TUVWXYZabcdefghijklmn opqrstuvwxyz1234567890
THE MORE DYNAMIC THE USE OF THE TYPEFACE, THE GREATER THE CLARITY AND IMPACT OF OUR MESSAGE. 24 UPPERCASE AND LOWERCASE MAY BE USED TO ENHANCE LEGIBILITY IN SITUATIONS WHERE THERE ARE LARGE AMOUNTS OF TEXT.
OUR PRINCIPLES OF COMPOSITION DRAW UPON THE LANGUAGE OF ARCHITECTURAL FORM WITH STRONG VERTICAL AND HORIZONTAL AXES. 25 OUR BRAND MARK IS A STRONG VERTICAL FORM THAT INTERSECTS A HORIZONTAL LINE OF TYPE. THIS STRUCTURE IS EXTENDED INTO ALL OF OUR BRAND EXPRESSIONS. THERE ARE MANY WAYS TO ARTICULATE THIS IDEA, AS WE SEE ON THE PAGES THAT FOLLOW. THE INTERSECTION OF TYPOGRAPHY WITH PHOTOGRAPHY FEELS BOTH DYNAMIC AND STRUCTURED. WE TRY TO OPTIMIZE THE IMPACT OF AN IMAGE BY COMPOSING TYPE AROUND THE FOCAL POINT. WE MAINTAIN A CONTEMPORARY TYPOGRAPHIC ATTITUDE WITH FLUSH LEFT OR FLUSH RIGHT, RATHER THAN CENTERED COMPOSITIONS.
INTEGRATE IALD YELLOW INTO COMPOSITIONS AS A DISTINCTIVE ACCENT. 26 WE USE IALD YELLOW IN COMPOSITION TO PROVIDE A MEMORABLE ACCENT THAT, WHEN USED CORRECTLY AND CONSISTENTLY, SIGNALS OUR BRAND.
MINIMALISM IS THE APPROACH BEST SUITED TO THE LOOK AND FEEL OF IALD. A BOLD AXIS OF TYPE MAKES A STATEMENT OF SIMPLICITY AND STRENGTH. 27
TYPOGRAPHIC COMPOSITION SHOULD COMPLIMENT AND ENHANCE PHOTOGRAPHIC COMPOSITION. 28 FRUTIGER BLACK COMBINED WITH FRUTIGER LIGHT CREATES A STRONG, MEMORABLE VOICE. THE TYPOGRAPHIC COMPOSITION ECHOES THE ARCHITECTURAL FORMS WITHIN THE PHOTOGRAPH.
THE IALD IDENTITY SYSTEM S FLEXIBILITY ALLOWS FOR A BROAD RANGE OF APPLICATIONS WHILE TAKING ADVANTAGE OF THE BENEFITS OF EACH MEDIUM. 29 CONSISTENT USE OF COLOR, TYPE AND IMAGERY MAINTAINS THE BRAND LOOK AND FEEL FROM THE SMALLEST TO THE LARGEST APPLICATIONS.