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Brand guidelines

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Brand guidelines

  1. 1. Graphical Guidelines
  2. 2. 1 Company Logo The logo is the most centric element of the entire Quotiply brand. It consists of a two- toned emblem, forming a stylized negative space “Q”. The emblem is then used together with the textmark to form the word “Quotiply”. The logo is designed to be flexible to the highest possible amount without diluting the brand as a whole. While the entire textmark logo is preferred, in certain cases where the surrounding content leaves no ambiguity, the brand can be communicated even with the inverted Q emblem alone. The logo is set in dark blue, and every representation of it on light backgrounds should adhere to the original layout, explained further in the following pages, and section 2. When displayed on dark backgrounds (most preferably on a background of the dark blue used in the logo itself), the logo should be set in pure white. For the exact colors, refer to section 2, “Colors”. For any non-official use of the logo, a prior written permission needs to be obtained before featuring the logo in any printwork.
  3. 3. TM The central element of the Quotiply brand is its logo, pictured above. The logo consists of the Inverted Q emblem, and the logotype. No modifications or adaptations can be made to the logo, so as to not dilute the brand. The proportions of the logo are explained on the opposite page. The colors of the brand are explained in section 2. The minimum width of the logo is defined by its width. Any representation of the logo may not be smaller than 25mm in print, or 50 pixels on the web.
  4. 4. TM 20 12,5 12,5 2045 The logo must adhere to the strict proportions set here. The logotype is modified so that the ascenders and descenders of the text line up with the emblem. Proportions of the logo elements are labelled on the left. The logo has to always have a margin, inside of which no other elements may be placed. This margin (the orange area) is equal to the width of the letter “u” in the logotype. The TM symbol is not accounted within the margin.
  5. 5. The Inverted Q emblem may also be used on its own, but only in circumstances where the audience would be certain to recognize the symbol. Such circumstances include content within the Quotiply websites, or marketing material only after extreme brand recognition has been achieved.
  6. 6. 20 12,5 12,5 2045 Similar proportions should be used when the emblem is presented on its own. The tentative margin (illustrated by the orange area) is equal to the width of the inner element. However, other elements need to be placed in such a way that the audience will not confuse the emblem to be a part of some other logotype, advertisement or image.
  7. 7. Nots TMTM Do not present the logo in any unsanctioned colors, or add any gradients, gleams, effects, textures or other modifications. Do not change, modify or subsitute the typeface used for the logotype, or add any other text in connection with the emblem. TM uotiply Do not change, modify or adapt the proportions, spacing, position or alignment of any of the logo elements. TM uotiply
  8. 8. Nots Do not add text which gives the impression that Quotiply, Inc. sponsors, advocates or endorses of the content surrounding it. TM Powered by: TM Do not add any new elements or texts within the margin, so to make it seem they would be part of the logo. Do not use a representation of the logo which is of inappropriate size, type or quality for its application; i.e. web resolution in print.
  9. 9. 2 Colors The Quotiply graphics are built primarily from two shades of blue, which are both present in the logo as well as all marketing material, but less so in the products. To give the company a more steady, serious tone, a dark blue was chosen to be the primary color. To complement it, a lighter shade of blue was chosen as a secondary color. These two form a monochromatism which gives the feeling of security, stability and professionalism. The colors symbolize trust, confidence and technology. For the clear, modern and elegant result, only one main color should be used (dark blue), with the secondary hue (light blue) only used occasionally as a supporting color. In addition to these colors (as they are defined on the next pages), different shades of gray will also be used. Text in neither the marketing material nor the products should ever be set in full black. To hold up the elegant image, body copy should be set in dark gray. Only printed office documents should be set in black.
  10. 10. DARK BLUE RGB: 44r 61g 111b HEX: #2C3D6F CMYK: 95c 85m 30y 15k Pantone 534 C HSB: 225 °h 60%s 44%b CIELAB: L*=26 a*=6 b*=-31
  11. 11. LIGHT BLUE RGB: 40r 98g 156b HEX: #28629C CMYK: 90c 65m 15y 0k Pantone 653 C HSB: 210 °h 74%s 61%b CIELAB: L*=40 a*=-3 b*=-38
  12. 12. 3 Typography To complement unified representations of the logo and brand colors, the typography used must also match those set in this document. For headlines, slogans and other larger texts, Adrian Frutiger’s “Univers” is used in the “45 Light” weight. The realist and clean typeface with a thinner stroke width offers a clean and understated look. For body copy and other larger passages set in small type, Lucida Sans is used. Designed by Charles Bigelow and Kris Holmes, it offers high legibility while being less ubiquitous than many other common choices for body copy. In user interfaces inside the products, Lucida Grande is used, to support a vaster array of characters and to avoid a true italic which hurts legibility on computer screens in small point sizes. Whenever Lucida Sans or Lucida Grande are not available to users of the products, Arial may be used to substitute them. The headline type, Univers, may not be substituted if such is easily avoidable.
  13. 13. Aa Bb Cc Univers 45 Light ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ abcdefghijklmnopqrstuvwxyzåäö 1234567890 Univers 45 Light ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ abcdefghijklmnopqrstuvwxyzåäö 1234567890 Univers 55 Regular ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ abcdefghijklmnopqrstuvwxyzåäö 1234567890 Univers 65 Bold Univers is a realist sans-serif typeface by Adrian Frutiger. The type is a textbook example of the clean and readable “Swiss Style” of typeface design.
  14. 14. Aa Bb Cc Lucida Sans ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ abcdefghijklmnopqrstuvwxyzåäö 1234567890 Lucida Sans ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ abcdefghijklmnopqrstuvwxyzåäö 1234567890 Lucida Sans Italic ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ abcdefghijklmnopqrstuvwxyzåäö 1234567890 Lucida Sans Demibold Lucida Sans is a humanist sans-serif typeface designed by Charles Bigelow and Kris Holmes. Lucida Sans fits especially well for longer copies in small point sizes.

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