Visual Identity Guidelines. Content 00 About Who We Are and What We Want 00.1 Introduction 00.2 Vision & Mission 00.3 Voice 01 The Logo An Introduction to the Logo and the Do’s and Don’ts of Using it 01.1 Logo Introduction 01.2 Clear Space & Minimal Space 01.3 Logo Variations 01.4 Incorrect Logo Usage 02 Colour What Colours to Use and How to Use Them 02.1 Colour Introduction 02.2 The Brand Colour System 02.3 Colour Usage 03 Typography Our Typefaces and How to Use Them 03.1 The Questa Project 03.2 Typographic Basics 04 The Golden Ratio Our Basic Design Rules and How to Use Them 04.1 Golden Ratio Introduction 04.2 Golden Ratio Application 05 Application 05.1 Use of Pictures 05.2 Design Element: Dot 05.3 Design Element: Cut-out Element 05.4 Design Element: Thread (Line) 05.5 Hohenstein Labels 05.6 Icon Set 06 Stationery 06.1 Letterhead 06.2 Business Cards 55 x 85 mm 07 Print Communication 07.1 Brochures 210 x 280 mm Cover Pages 07.2 Brochures 210 x 280 mm Cover/ Backside Pages Examples 07.3 Brochures 210 x 280 mm Inside Pages 07.4 Brochures 210 x 280 mm Examples 07.5 Brochures 210 x 145 mm Cover Pages 07.6 Brochures 210 x 145 mm Inside Pages 07.7 Brochures Tables 07.8 Flyer 105 x 210 mm Cover Pages 07.9 Flyer 105 x 210 mm Inside Pages 07.10 Flyer 210 x 105 mm 07.11 Poster 420 x 594 mm 07.12 Hohenstein Door Labels 150 x 150 mm 07.13 Cards 210 x 105 mm 07.14 Press Kit 220 x 310 mm 07.15 Merchandising & Giveaways 08 Exhibition 08.1 Booth Back Wall Dimensioning – Horizontal Cut 08.2 Booth Back Wall Dimensioning – Horizontal Cut 08.3 Booth Back Wall Dimensioning – Vertical Cut 08.4 Booth Back Wall – Full-Screen Images 08.5 Roll-Ups 08.6 Counter Layouts 04 Introduction Voice Vision & Mission These guidelines reflect Hohenstein’s commitment to quality, consistency and style. Apart from all its standards, it still leaves room for the artistic and creative flexibility, which is needed to create high quality and visually stunning communication materials. The major points refer to grammar, tone, logo, colours, type, plus the underlying Golden Ratio and form a solid basement for the Hohenstein brand. We consider ourselves trustworthy guides to the world of textile innovations. That is why we want to create authentic and long lasting relationships with our clients and thus keep communication factual, direct and approachable. Our identity underpins the expertise of Hohenstein, the tradition and the view into the future. We operate as a far-sighted solution provider for our clients. Our impartiality and neutrality can prove invaluable along the entire value chain. Knowledge transfer, sustainability and global customer proximity shaped our culture. We believe in the promising chances of textile innovations for mankind and nature. That is why we want to ensure the safe and reliable launch of our customers’ new products with so much passion. 00.1 Introduction 00.2 Vision & Mission 00.3 Voice 05 The Logo 06 Logo Introduction Clear Space & Minimal Space Our logo is the key building block of our identity and the primary visual element that identifies us. It is a combination of our company name and a blue circle. Symbol and logotype have a fixed relationship that should never be changed in any way. The company name is always written in capital letters. The size of the blue circle results from the cap height plus the length of the serifs. Use the following guide to ensure that nothing encroaches too close to the logo. The system is totally scalable and is based upon measurements from the logo itself: The margin of clear space is measured by the blue circle. The perfect clear space for the logo is the distance of two circles. Under special conditions you can use the minimal clear space of one circle. The minimal size for the logo is 25 x 2.6 mm. Perfect clear space: two circles distance Use the following colours for the logo: Black: Pantone 419C (C60|M50|Y50|K100 – R0|G0|B0) Blue: Pantone 647C (C100|M50|Y0|K30 – R0|G80|B139) Minimal clear space: one circle distance min. 25 mm 01.1 Logo Introduction 01.2 Clear Space & Minimal Space 07 Logo Variations Incorrect Logo Use Whenever possible, use this variation of the logo in rich black and the blue circle in Hohenstein Sky. Do not rotate, stretch or skew the logo in any way. Do not change the position or the size of the circle. If it is not possible to reproduce the original logo correctly, use the greyscale logo (lettering K100, circle K80). If it is not possible to give the original version of the logo enough white space, use the negative logo. If it is not possible to avoid picture backgrounds, use the negative version and consider legibility. Do not use the logo on a busy photo background or pattern. Do not change the colour of the circle. Do not use the logo on a background that does not provide enough contrast. 01.3 Logo Variations 01.4 Incorrect Logo Use 08 Colour 09 Colour Introduction The Brand Colour System Colour up your life. Colour is a strong element of the Hohenstein brand identity. We have adopted a strict colour palette which is restricted to the colours on the right. As Hohenstein operates worldwide our brand colour system pays tribute to country-specific cities, fruits and weather conditions. 02.1 Colour Introduction 02.2 The Brand Colour System The colour palette can be used in many different combinations. As a general rule, two colours should be used in combination (except titles). A low contrast is preferred but a sufficient legibility must be guaranteed. We have listed some common characteristics of colours with its psychological effects that will help you to choose the right colour. But always consider the specific colour codes of your country. RGB: 0 | 82 | 140 CMYK: 100 | 50 | 0 | 30 Fortitude, loyalty, reason, intelligence, freedom, courage, loyalty, knowledge, wisdom Primary colour: Hohenstein Sky (Bönnigheim Sky) Acai Secondary colour: black Secondary colour: white RGB: 29 | 29 | 27 CMYK: 0 | 0 | 0 | 100 Pantone: 419 C RAL: 9004 Signal black #000000 RGB: 255 | 255 | 255 CMYK: 0 | 0 | 0 | 0 RAL: 9003 Signal white #ffffff Pantone: 647 C Pantone: 2945 U RAL: 5017 Traffic Blue #00528c Modesty, strength, fortitude Intellect, stimulation, warmth Trust, harmony, cheerfulness Energy, passion, power, life Nature, sustainability, growth, joy, stability Harmony, respect, precision Mumbai Sky (monochromatic) Monsoon Cherimoya Jalapeno Marula Papaya Pomegranate Avocado Acai Pitaya Bangkok Sky (monochromatic) Typhoon Los Angeles Sky (monochromatic) Hurricane RGB: 140 | 181 | 226 CMYK: 49 | 20 | 0 | 0 RGB: 50 | 121 | 190 CMYK: 80 | 46 | 0 | 0 RGB: 32 | 53 | 92 CMYK: 97 | 80 | 34 | 30 RGB: 95 | 68 | 131 CMYK: 75 | 81 | 16 | 4 RGB: 30 | 120 | 92 CMYK: 84 | 30 | 70 | 15 RGB: 166 | 51 | 138 CMYK: 41 | 91 | 0 | 0 RGB: 234 | 207 | 41 CMYK: 12 | 1 4 | 89 | 0 RGB: 112 | 116 | 122 CMYK: 32 | 22 | 17 | 52 RGB: 148 | 193 | 28 CMYK: 50 | 0 | 100 | 00 RGB: 0 | 84 | 59 CMYK: 92 | 38 | 80 | 40 RGB: 62 | 66 | 74 CMYK: 25 | 13 | 0 | 83 RGB: 78 | 84 | 93 CMYK: 25 | 13 | 0 | 75 RGB: 244 | 149 | 27 CMYK: 0 | 49 | 93 | 0 RGB: 231 | 51 | 57 CMYK: 0 | 90 | 75 | 0 Pantone: 660 C RAL: 5012 Light blue #3279be Pantone: 7451 C RAL: 5024 Pastell blue #8cb5e2 Pantone: 7447 C RAL: 4005 Blue lilac or Sikkens W0.20.30 #5f4483 Pantone: 7405 C RAL: 1016 Sulphur yellow #eacf29 Pantone: Cool Gray 9 C RAL: 7046 Telegrey 2 #70747a Pantone: 376 C RAL: 6018 Gelbgrün #94c11c Pantone: 7484 C RAL: 6005 Moosgrün #00543b Pantone: 625 C RAL: 6000 Patina green #1e785c Pantone: 144 C RAL: 1034 Pastel yellow #f4951b Pantone: 431 C RAL: 7012 Basalt grey #4e545d Pantone: 534 C RAL: 5003 Sapphire blue #20355c Pantone: 682 C RAL: 4006 Traffic purple #a6338a Pantone: 1797 C RAL: 3018 Strawberry red #e73339 Pantone: Cool Gray 11 C RAL: 7024 Graphite grey #3e424a 10 Colour Usage Here are some examples how to work better with the colours. You can use it for brochure or flyer titles, to highlight headlines or of course for graphics. Use it, whenever possible, with the rule of the Golden Ratio, which we will explain onwards -> page 16. 02.3 Colour Usage Release of odour substances sweat transfer (0h) 0 10 20 30 40 50 60 70 80 90 100 storage 24h Release odour substances [%] storage 24h + 2h 35°C PA 140 g/m² PES 140 g/m² CO 150 g/m² 11 Typography 12 The Questa Project The Questa Project is a typeface superfamily containing a serif, a matching sans and a matching display version. The inclusion of small caps, four sets of figures, ligatures and extended language support makes Questa a real workhorse typeface. 03.1 The Questa Project Cactus siesta The office usually at 14:00 hours it is time for The basic idea from the fbi was... Industry standard input and output (Modern) American Usage is allowed Small Caps Lock* résumé One hydrophore aquamarine? Cactus siesta The office usually at 14:00 hours it is time for The basic idea from the fbi was... Industry standard input and output (Modern) American Usage is allowed Small Caps Lock* résumé One hydrophore aquamarine? Cactus siesta Morning usually at 14:00 hours it is time The basic idea from the fbi was... Industry standard input and output (Modern) American Usage is allowed Small Caps Lock* résumé One hydrophore aquamarine? Questa Slab Reflective 467 yrs & 10 mths Bibliothèque* SKYWRITING ¶ The influence of the tool ¡{high} voltage! § 2.5.8 Epilogue Mighty 13 Questa How to Use the Typefaces Questa Sans Questa Grande Questa Slab The contrast within Questa’s characters is relatively high. At the same time the thin parts and the unbracketed serifs are strong enough to prevent the characters from breaking open. Questa Regular is our primary typeface for the body copy . It is used with a line spacing of 130 % of the type size. It is also used for sub- headlines in combination with the Questa Sans Black Italic. The Questa Italic is used for image captions , also with a line spacing of 130 % of the type size. For highlighting text, you can use the Questa Black. Questa and Questa Sans are the families which are mainly used in literature and printed media. They are used in combination to generate a certain contrast and bring life to the design. Questa Slab and Grande are used in special cases such as certifications or for HR media. Ensure that the spacing is set on „Optical“. Questa Sans simply bases its shapes on its serif counterpart. In this way most of the identity and personality of Questa Sans originates from Questa Serif. Questa Sans Italic is used for headlines with a line spacing of 120 % of the type size. Questa Sans Regular can be used for the body copy of tables that contain a more technical input. Questa Sans Black is used for cross-headings Where the text version of Questa has an almost workhorse-like quality, Questa Grande is more elegant and refined in its details. Use the Grande family where a more decorative and elegant typeface is needed, e.g. certifications and invitations. Also in a restrained manner in literature. Questa Grande Bold Italic is used for special text notes Questa Grande Medium Italic is used for page numbers In the Questa Project the Questa Slab is even directly based on Questa Sans, often just by attaching thick bracketed serifs. Use the Questa Slab family for a modern youthful look, e.g. for HR ads or special events. 03.2 Typographic Basics Generally, the typefaces are applied in 100 % black in the communication but you are free to use the Hohenstein colour palette in your media when the types take part in highlighting certain information. -> Colour usage, page 09 As a substitute font please use Fira Sans and Merriweather These fonts will be used in web design or for PowerPoint presentations. Also when Questa is not available. 14 03.2 Typographic Basics Get in Touch 1 Questa Sans Black Italic The headline not only gives us the main information on the page at a glance, but we use it also as a design element. Therefore, think big. The line spacing is 120 % 3 Questa Sans Black The cross-heading is a heading of a subsection printed within the body of the text. The type size of the cross- heading is the type size of the body copy multiplied by 1.5. The line spacing is 120 %. 2 Questa Regular Whenever possible, only use one headline. If you can’t avoid a sub-headline choose at least as type size the type size of the body copy multiplied by 1.5. The line spacing of the sub-headline is 130 %. The distance between headline and sub-headline is 70 % of the line spacing of the headline. Lorem Ipsum cata con perspectum. Itiisquis et est laudand ucientiorum qui lorem quid ipsum, ed quatempost, et pore sitam eos eos doloribus. 1 5 7 6 2 4 3 Lorem Ipsum cata con perspectum. Itiisquis et est laudand ucientiorum qui lorem quid ipsum. 120 %– headline size 70 % – headline size 130 % – body copy 4 Questa Regular The body copy is the main text part of an advertisement or any printed matter that provides the ‘meat’ of the communication. The line spacing is 130 %. If you want to feature some items, use round bullet points. 5 Questa Italic Use the Questa Italic for image captions with a line spacing 130 %. 6 Questa Grande Bold Italic is used for additional text notes with a line spacing 130 %. 7 Questa Grande Medium Italic is used for page numbers. 15 03.2 Typographic Basics Line Spacing at a Glance Lorem Ipsum cata con perspectum. Itiisquis et est laudand ucientiorum qui lorem quid ipsum, ed quatempost, et pore sitam eos eos doloribus. 120 %– headline size 70 % – headline size 130 % – body copy Headline size Line Spacing Headline Spacing Headline/Copy 40 Pt. 48 Pt. 32 Pt. 45 Pt. 54 Pt. 36 Pt. 50 Pt. 60 Pt. 40 Pt. 55 Pt. 66 Pt. 44 Pt. 60 Pt. 72 Pt. 48 Pt. 65 Pt. 78 Pt. 52 Pt. 70 Pt. 84 Pt. 56 Pt. 75 Pt. 90 Pt. 60 Pt. Copy size Line Spacing Copy 7 Pt. 9,1 Pt. 8 Pt. 10,4 Pt. 9 Pt. 11,7 Pt. 10 Pt. 13 Pt. 11 Pt. 14,3 Pt. 12 Pt. 15,6 Pt. 70 % of Headline size 16 The Golden Ratio 17 04.1 Golden Ratio Introduction The Golden Ratio There is a common mathematical ratio found in nature that can be used to create pleasing, natural looking compositions in our design work. We call it the Golden Ratio, although it is also known as the Golden Mean, the Golden Section, or the Greek letter Phi. Closely related to the Fibonacci Sequence, the Golden Ratio describes the perfectly symmetrical relationship between two proportions. The Golden Ratio can be observed in music, art and design all around you. If you want to fully implement the Golden Ratio into your design, you can do so easily by ensuring that the relationship between your content area and sidebar (in a website design, for example) adheres to the 1:1.61 ratio. It is okay to round this up or down by a point or two to make the numbers work with pixels or points – so if you have a content area of 640 px, a sidebar of 400 px will match the Golden Ratio well enough to work, even though it‘s actually a ratio of 1:1.6. a a+b b a 18 04.2 Golden Ratio Application How to Apply the Golden Ratio in the Hohenstein Design To apply the Golden Ratio rule to the Hohenstein Design, we break it down to one main rule. Be sure that the division of the distance of a side has the proportion of 1:1.61. Usually, the area is divided into a upper smaller part mainly restricted for headline, logo, etc. and a lower part for further information (body copy, images, graphics, colour blocks, etc.). But in some cases you can apply a different arrangement. 61.8 % 61.8 % 38.2 % 38.2 % Release of odour substances sweat transfer (0h) 0 10 20 30 40 50 60 70 80 90 100 storage 24h Release odour substances [%] storage 24h + 2h 35°C PA 140 g/m² PES 140 g/m² CO 150 g/m² 19 Application 20 05.1 Use of Pictures Use of Pictures The Hohenstein imagery is bright, friendly and modern. All images have a high amount of white, which associates purity, neutrality and the good. The images may not merge with colour of the page.