This document provides a design manual and branding guidelines for the Vermillion Group. It outlines the corporate logo, including approved formats, constructions, and incorrect usages. It also establishes typography guidelines, specifying primary and secondary fonts. Finally, it defines the corporate color system, including primary and secondary colors to be used consistently across all communication materials. The guidelines are intended to ensure a cohesive brand identity and visual style is maintained.
Municipal Water District of Orange County Brand Style Guide or Logo and Brand Identity Guidelines. In 2017, after nearly 47 years with the same visual identity, the District began a complete rebranding effort starting with a new, modernized logo. This guide was created and implemented in 2018 for both internal and external customers.
Bos Klein is a collaborative agency that brings together experts in the fields of media, design, communications and technology. We are committed to the integrity of our creative process, which provides clients with the tools to effectively establish cultural codes—disseminating brands, stories and strategies; arming our collaborators with a powerful and precise voice within the market and culture.
This is The Littlefield Company brand guideline. The purpose of this guide is an attempt to formalize our ever-developing brand. As the company grows and evolves, this book will evolve with it.
Impact of Social Media on Changing Consumers’ Attitudes Towards Salvation Arm...Hershey Desai
Abstract
In today’s world, the internet has become a social web, bringing a paradigm shift and allowing people to communicate in a multitude of networks. Social networks attract millions of users each day, who seek personal interaction with brands and other like-minded consumers. People have begun to influence their purchase decisions more through social media than traditional media.
The Salvation Army Thrift Stores in Singapore also jumped on the social media bandwagon to gain more consumers and boost sales through popular social network sites. However, within the course of two years there has been marginal growth on their networks having almost no impact on the community.
The objectives of this research are to explore the field of social media in terms of quality of design, effectiveness of informative content and meaningful dialogue and observe the relation between social media and to build a strong meaningful online brand presence for the Salvation Army.
It is hypothesized that an effective social media network can positively change consumers’ attitudes towards the Salvation Army Thrift Stores.
Desk research methods like literature review and qualitative research methods like online surveys, observations and interviews were conducted for collection of data. IBM SPSS software was used for data analysis and reliability of the survey.
The results of the survey showed 41.3% respondents showing a positive attitude towards the brand with 43.3% likely or intend to purchase from The Salvation Army in the future.
Municipal Water District of Orange County Brand Style Guide or Logo and Brand Identity Guidelines. In 2017, after nearly 47 years with the same visual identity, the District began a complete rebranding effort starting with a new, modernized logo. This guide was created and implemented in 2018 for both internal and external customers.
Bos Klein is a collaborative agency that brings together experts in the fields of media, design, communications and technology. We are committed to the integrity of our creative process, which provides clients with the tools to effectively establish cultural codes—disseminating brands, stories and strategies; arming our collaborators with a powerful and precise voice within the market and culture.
This is The Littlefield Company brand guideline. The purpose of this guide is an attempt to formalize our ever-developing brand. As the company grows and evolves, this book will evolve with it.
Impact of Social Media on Changing Consumers’ Attitudes Towards Salvation Arm...Hershey Desai
Abstract
In today’s world, the internet has become a social web, bringing a paradigm shift and allowing people to communicate in a multitude of networks. Social networks attract millions of users each day, who seek personal interaction with brands and other like-minded consumers. People have begun to influence their purchase decisions more through social media than traditional media.
The Salvation Army Thrift Stores in Singapore also jumped on the social media bandwagon to gain more consumers and boost sales through popular social network sites. However, within the course of two years there has been marginal growth on their networks having almost no impact on the community.
The objectives of this research are to explore the field of social media in terms of quality of design, effectiveness of informative content and meaningful dialogue and observe the relation between social media and to build a strong meaningful online brand presence for the Salvation Army.
It is hypothesized that an effective social media network can positively change consumers’ attitudes towards the Salvation Army Thrift Stores.
Desk research methods like literature review and qualitative research methods like online surveys, observations and interviews were conducted for collection of data. IBM SPSS software was used for data analysis and reliability of the survey.
The results of the survey showed 41.3% respondents showing a positive attitude towards the brand with 43.3% likely or intend to purchase from The Salvation Army in the future.
Simplipedia is a simple-to-use blog/website that hosts a Wikitionary of sorts - aggregating simplified interpretations from users; curated by Team Simplify (us & you as the moderators)
As the name suggests, Simplipedia will simplify all terms complex - from exotic destinations, to lifestyle experiences; tongue-twisting cuisines to gadgets & gizmos. Basically everything worth an experience that money can buy (and wherever possible) plugged with an offer (on SBI Cards) you can’t resist.
After a psychological study conducted on two similar games, Angry Birds and Crush the Castle, understanding why one was exceedingly popular over the other, this essay aims to understand if it can create a set of guidelines that would adhere to any game.
By understanding player’s mindset, we aim to make a recipe that can create a successful multiplatform best seller.
Rarely does an imitation become more successful than an original. Angry Birds has become one of the most popular multiplatform videogame franchises. However the foundation of their gameplay was quite similar to a previously released game, Crush The Castle.
There were plenty of similarities between the two games, however Angry Birds tweaked some characteristics and became a sensation.
This essay focuses on a comparison between both games to figure out why Angry Birds “Crushed” the Castle.
Psychological Deconstruction of Angry BirdsHershey Desai
Never before has there been a moment where using different species of grimacing birds as projectiles to knock down and destroy grunting diseased looking green pigs been so very addictive. Angry Birds has become one of the rare video game sensations that jumped from being a game on your phone to a huge multiplatform franchise.
But what makes the game a success? Why is Angry Birds a masterpiece of addictiveness? Is it the simple gameplay, or the visual graphics used? Could it be just a hype that exists simply because everyone is playing it or is there any substantial techniques and theories behind the game?
By analysing the gameplay from a psychological perspective this essay aims to understand the reason behind the addictiveness of Angry Birds.
RFID is an interesting technology that has generated a great deal of interest in the last few years. For this study, the focus is specifically on the impact of RFID technology in a supermarket.
By understanding the details behind RFID and clearing some misconceptions regarding privacy and security, this report aims to clarify the adoption of RFID in major supermarkets such as FairPrice.
Towards the end, we aim to provide a summarized solution on how RFID technology can benefit the store and the steps required to implement it in a supermarket.
Solution Development for the supermarket involves striking a balance between consumer needs and retailer costs. The Masters of Design students have spent six weeks gathering and analyzing research data, brainstorming on several potential solutions. Those solutions shall be looked into from a broader perspective in an attempt to achieve the necessary balance for an ideal consumer shopping experience
To enhance the retail experience of consumers by researching, analyzing and mapping out issues by priority and coming up with a clear design based solution to make grocery shopping fun and simple.
Ideas have been the driving force of humanity. From a simple circular wheel carved from rock back in the stone ages to the first airplanes and telephones, innovative ideas have sparked off revolutionary changes in society. Now in this competitive world, ideas have become more important to us than actions. Companies have begun asking designers to generate solutions that meet the needs and desires of the consumer.
As such, there was a need to streamline and increase the efficiency of producing and sharing ideas within teams. This gave birth to several idea generation techniques, which allowed everyone to play a part in the creative process, a role allotted strictly to designers and engineers for the last few years.
Idea generation techniques meant anyone could participate in creating new ideas. It allowed people to share and build up on existing solutions, to foresee future problems, and essentially, to think big in terms of design. It brought different specializations together to create a more diverse think-tank that can tackle problems from several perspectives.
This report is divided into three parts.
First, we shall look into several idea generation techniques, both popular ones and the uncommon ones, question their uses and value by providing examples of products developed using the specific techniques.
Second, we discuss whether idea generation methods and techniques are important in coming up with new ideas? Are they the driving factor in generating ideas?
Lastly, we conclude with our personal view on idea generation techniques, along with stating which methods, if any, would we prefer to use.
Towards the end we aim to achieve a better understand of the creative thinking process as a whole and how to effectively solve all issues, design or otherwise.
This research paper focuses on the life and work of Chinese born artist Ai Weiwei. Notoriously famous for his political stance against the Chinese Government, Ai Weiwei has expressed his viewpoints through his art for well over twenty years.
We will look into the design movements during his period, how he managed to create his art, and how did he use it to its maximum potential.
This paper has been divided into three parts.
The first part focuses on the origins of Ai Weiwei, his introduction in the art world, and the design methods and artists that influenced him most. We will also take an in-depth look at the artist’s design process, highlighting in general, some of his early works as examples.
The second part of the paper focuses on critically evaluating his design methods. This is further subdivided into three of Weiwei’s famous designs over the decade. Each artwork will be assessed in terms of concept, method of design, and impact on society.
The third part is a summarized compilation of our results about the artist and his work. Here we draw our personal opinions about the artist, whether his methods are logical and effective, and what we have personally learned from this project.
Artist…Scientist...Inventor…Mathematician…Engineer… these are a few professions that can describe Leonardo Da Vinci. A true polymath, Da Vinci was known to have an “unquenchable curiosity and a feverishly inventive imagination” (Kleiner, 1995)
While he was well renowned as a painter, creating famous works such as the Mona Lisa, Madonna on the Rocks, and the Last Supper, Leonardo was far more than just an artist; he was one of the finest scientific geniuses of his era. He believed that any good artist should also be a good scientist so as to have a better understanding of nature.
His technological ingenuity allowed him to conceptualize inventions such as a helicopter, a tank, calculators etc. Although DaVinci never published his work, he kept a detailed record of his findings in handwritten manuscript, of which roughly 4000 pages survived today.
In fact, one might suggest that Leonardo was more of an inventor than a painter, since most of his paintings were on commission, signifying that they might have been simply undertaken to provide financial support for his true passion: understanding nature.
Leonardo Da Vinci loved nature from a very early age. This was possibly because of his origins. His birthplace, the village of Vinci in Tuscany was located near mountains, trees and rivers, giving young Leonardo a perfect opportunity to explore his surroundings and interact with the wildlife. He was particularly fascinated with birds, stating one of his earliest memories to be watching a great hawk soaring across the skies. Da Vinci did not just wonder how birds flew, he undertook systematic studies birds in flight — then applied his studies to create an invention in the hopes that humans might fly as well.
Redefining Indian Identity through fashion.Hershey Desai
The word “ethnicity” is quite ambiguous. It has often been used while describing certain patterns or behaviors established within a society. At times, ethnicity can also be related to more literal geographic boundary. The definition has changed multiple times over the past few years. Earlier, it emphasized on the cultural aspect of a region whereas now, with the age of modernization, ethnicity usually refers to a social groups following a similar trait such as speaking the same language or having similar religious beliefs etc. Our perspective of ethnicity is with reference to individuality, values and practices of a group who feel connected to their heritage, either through traditional methods or via a hybrid of different cultures, overall making the society distinct enough to stand out from the other ethnic groups. However, ethnicity isn’t always inherited from the older generations. With globalization, ethnicity can be “constructed by external socioeconomic processes and media promotions” too (Nagel, 1994)
There is no fixed definition for ethnic identity. It’s a dynamic fluid term that keeps evolving with the various global conditions of society.
Referring to the statement of this particular assignment, Quentin Crisp quoted,
Fashion is what you adopt when you don’t know who you are.
Taking the sentence in a literal sense, it stated that those who are clueless about their ethnic origins would just adopt the fashion sense of their current society in order to derive a feeling of identity. Fashion styles are just one aspect contributing to ethnic identity. But why is ethnic fashion considered as a distinguishing characteristic? After all, fashion evolves at a rapid pace; new trends popping up constantly each year, various styles being adopted from different regions etc.
Ethnic fashion is vital because it has a multitude of identities. It can represent a person’s traditional heritage, or political affiliations, religious associations, or even simply, individuality in terms of personal taste. Just like the term “ethnicity”, ethnic fashion is dynamic, forever evolving and still managing to retain its own unique characteristic that allows it to differentiate itself from other communities.
The best place to study various styles of ethnic fashion is in India. With changes brought forth by globalization, India has been divided into three distinct categories of ethnic individuality, each unique and considering themselves to be the dominant Indian identity.
Impact of Bohemianism in New Media DesignHershey Desai
We live in an age where consumerism and technology dominate our lives. Almost everyone has a laptop or a cellphone, everyone aims to get the latest furniture designs, the best branded clothes. We have to wonder, in the process of succumbing to mainstream society are we losing our identity?
So far, in every era, bohemians would appear when there is a need for change. They would shake society up with their bold, innovative and often controversial ideas, and eventually fade away until their necessity rises again.
However, is it possible to be bohemian at all in this modern era? When consumerism has reached massive heights, does bohemianism still exist in this world? And if so, how does it influence the modern day design and lifestyle?
Overpopulation VS Global Environment - How Much is Too Much?Hershey Desai
With the world’s population about to cross 7 billion, we conduct a comprehensive study of the present-day ecosystems to determine the extent of damage inflicted on the natural resources and see if we have already crossed the threshold limits or is there still a key to achieve stability between population and environment.
Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
Between Filth and Fortune- Urban Cattle Foraging Realities by Devi S Nair, An...Mansi Shah
This study examines cattle rearing in urban and rural settings, focusing on milk production and consumption. By exploring a case in Ahmedabad, it highlights the challenges and processes in dairy farming across different environments, emphasising the need for sustainable practices and the essential role of milk in daily consumption.
Dive into the innovative world of smart garages with our insightful presentation, "Exploring the Future of Smart Garages." This comprehensive guide covers the latest advancements in garage technology, including automated systems, smart security features, energy efficiency solutions, and seamless integration with smart home ecosystems. Learn how these technologies are transforming traditional garages into high-tech, efficient spaces that enhance convenience, safety, and sustainability.
Ideal for homeowners, tech enthusiasts, and industry professionals, this presentation provides valuable insights into the trends, benefits, and future developments in smart garage technology. Stay ahead of the curve with our expert analysis and practical tips on implementing smart garage solutions.
Expert Accessory Dwelling Unit (ADU) Drafting ServicesResDraft
Whether you’re looking to create a guest house, a rental unit, or a private retreat, our experienced team will design a space that complements your existing home and maximizes your investment. We provide personalized, comprehensive expert accessory dwelling unit (ADU)drafting solutions tailored to your needs, ensuring a seamless process from concept to completion.
Book Formatting: Quality Control Checks for DesignersConfidence Ago
This presentation was made to help designers who work in publishing houses or format books for printing ensure quality.
Quality control is vital to every industry. This is why every department in a company need create a method they use in ensuring quality. This, perhaps, will not only improve the quality of products and bring errors to the barest minimum, but take it to a near perfect finish.
It is beyond a moot point that a good book will somewhat be judged by its cover, but the content of the book remains king. No matter how beautiful the cover, if the quality of writing or presentation is off, that will be a reason for readers not to come back to the book or recommend it.
So, this presentation points designers to some important things that may be missed by an editor that they could eventually discover and call the attention of the editor.
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
1. CORPORATE
DESIGN MANUAL
CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
CREATION DATE :
OCTOBER 2015
BRANDING GUIDELINES AND MANUAL FOR DESIGNERS
DESIGN AND
BRAND GUIDELINES V 1.0
3. VERMILLIONBRANDGUIDELINES
>>PAGE3//40
TABLE OF CONTENTS
DESIGN AND
BRAND GUIDELINES
Sec. 01 | Introduction
Sec. 02 | Corporate logo
Sec. 03 | Corporate Typography
Sec. 04 | Corporate Color System
Sec. 05 | Corporate Stationery
Sec. 06 | Corporate Images
Sec. 07 | Iconography
Sec. 08 | Summary and Contact
Sec. 09 | Downloads
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> TABLE OF CONTENTSSECTION ONE : INTRODUCTION TO GUIDELINES
4. >>PAGE4//40
VERMILLIONBRANDGUIDELINES
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> INTRODUCTIONSECTION ONE : INTRODUCTION INTO GUIDELINES
USING THE DESIGN GUIDELINES
These guidelines describe the visual and verbal elements that represent Vermillion‘s
corporate identity. This includes our name, logo and other elements such as color, type
and graphics. Sending a consistent and controlled message of who we are is essential to
presenting a strong, unified image of our company.
The Vermillion brand, including the logo, name, colors and identifying elements, are
valuable company assets and each of us are responsible for protecting the company’s inte-
rests by preventing unauthorized or incorrect use of the Vermillion name and marks.
This guide will serve as a handy tool to ensure the Vermillion branding remains consistent
throughout its usage across mediums to reflect our commitment to quality, consistency
and style.
5. VERMILLIONBRANDGUIDELINES
>>PAGE5//40
01 /
A INTRODUCTION TO OUR
DESIGN GUIDELINES AND
BRAND MANUAL
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> INTRODUCTIONSECTION ONE : INTRODUCTION INTO GUIDELINES
6. >>PAGE6//40
VERMILLIONBRANDGUIDELINES
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> THE VERMILLION LOGO
THE LOGO CONSTRUCTION
CLEARSPACE & COMPUTATION
THE LOGO APPLICATION
INCORRECT LOGO USAGE
SECTION TWO : LOGO AND GUIDELINES
02 /
CORPORATE LOGO
RECOMMENDED FORMATS
ARE:
.eps | .ai | .png | .jpg | .tiff
ATTENTION:
Use of any stylized, animated, hand
drawn or other versions of a inofficial
logo is not permitted. This under-
mines the logo system and brand
consistency.
THE FULL LOGOTYPE
Our Logo is the key building block of our identity, the primary visual element
that identifies us. The signature is a combination of the the logo symbol itself
and our company name as the logotype. They have a fixed relationship that
should never be changed in any way.
The Logo Symbol is a minimal shape evoking the simplicity of services offered
- the connection between the strength of communication and the different
points that influence.
The Logotype has been chosen for its modern, refined, highly legible style,
which has been further enhanced by the use of upper case letters. The
typeface is CakeSans and Aquatico with a modified letter R and it balances
perfectly with the logo symbol.
The corporate logo is presented through the use of colour as well as shape
and form. The corporate colours are Red and Grey. It is a fresh blend of co-
lours chosen for their strong combination - modern - classic - timeless.
7. VERMILLIONBRANDGUIDELINES
>>PAGE7//40
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> THE VERMILLION LOGO
THE LOGO CONSTRUCTION
CLEARSPACE & COMPUTATION
THE LOGO APPLICATION
INCORRECT LOGO USAGE
SECTION TWO : LOGO AND GUIDELINES
1 THE GENERAL LOGO
The main logo to be used on white
or colored backround. For darker
backrounds you will find an alter-
native below.
2 THE LOGO SYMBOL
Consists of a powerful element
evoking the simplicity of services
in a bright vermillion red.
3 THE LOGO TITLE
Chosen for its modern and yet
refined, highly legible style, which
has been further enhanced by
the use of upper case letters in
gray tone of the chosen corporate
color. The font that is used here
is CakeSans with a variant on the
letter R.
2 3
1 THE GENERAL LOGO
a THE LOGO ON RED VERSION b THE LOGO ON GREY VERSION
8. CAPITAL ADVISORS
= 1x
1x
0.5x
2x
2x 1x
>>PAGE8//40
VERMILLIONBRANDGUIDELINES
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE VERMILLION LOGO
>> THE LOGO CONSTRUCTION
>> CLEARSPACE & COMPUTATION
THE LOGO APPLICATION
INCORRECT LOGO USAGE
SECTION TWO : LOGO AND GUIDELINES
LOGO CONSTRUCTION, CLEARSPACE AND
COMPUTATION
It is important to keep corporate marks clear of any other graphic elements.
To regulate this, an exclusion zone has been established around the corporate
mark. This exclusion zone indicates the closest any other graphic element or
message can be positioned in relation to the mark.of the the symbol itself
and our company name – they have a fixed relationship that should never be
changed in any way.
02 /
CORPORATE LOGO
9. 1x 1x
1x1x
1x 1x
1x1x VERMILLIONBRANDGUIDELINES
>>PAGE9//40
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE VERMILLION LOGO
>> THE LOGO CONSTRUCTION
>> CLEARSPACE & COMPUTATION
THE LOGO APPLICATION
INCORRECT LOGO USAGE
SECTION TWO : LOGO AND GUIDELINES
CLEARSPACE
-
Full Logo
DEFINITION
-
Whenever you use the logo, it should be surrounded with clear space to ensure its visibility and impact. No
graphic elements of any kind should invade this zone.
COMPUTATION
-
To work out the clearspace take
the height of the logo and divide it
in half. (Space = Height / 2).
CLEARSPACE
-
Logo Symbol
10. >>PAGE10//40
VERMILLIONBRANDGUIDELINES
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE VERMILLION LOGO
THE LOGO CONSTRUCTION
CLEARSPACE & COMPUTATION
>> THE LOGO APPLICATION
INCORRECT LOGO USAGE
SECTION TWO : LOGO AND GUIDELINES
02 /
CORPORATE LOGO
APPLICATION
ON A BACKGROUND
11. VERMILLIONBRANDGUIDELINES
>>PAGE11//40
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE VERMILLION LOGO
THE LOGO CONSTRUCTION
CLEARSPACE & COMPUTATION
THE LOGO APPLICATION
>> INCORRECT LOGO USAGE
SECTION TWO : LOGO AND GUIDELINES
5
3 4
1 2
6
FULL LOGO SIZES
Minimum Size: 30 mm x 5.04 mm
MINIMUM LOGO SIZES
LOGO SYMBOL
Minimum Size: 6 mm x 6 mm
INCORRECT APPLICATIONS
-
DO NOT
-
1 Do not rotate the logo symbol
2 Do not change placement of the logo symbol
3 Do not change size relationship between the logo and logotype
4 Do not change the proportions of the logo and logotype.
5 Do not change color of the logotype
6 Do not place the logo on top of logotype
30 mm 06 mm
12. >>PAGE12//40
VERMILLIONBRANDGUIDELINES
03 /
CORPORATE
TYPOGRAPHY
LOGO FONT
CAKE SANS
DESIGNER :
reghardt & Andrew Herndon
-
CLASSIFICATION :
San Serif
-
THE FONT
Cake Sans is a simple rounded sans serif for
when life get to complicated. Uppercase,
lowercase, numbers and some punctuation,
available in light, regular and bold.
Aquatico is a new typeface inspired by the sea
creatures of the lowest point on earth. This Ty-
peface comes with Aquatico Regular, Oblique,
Light & Light Oblique.
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> THE CORPORATE FONTS
>> PRIMARY FONT
SECONDARY FONT
TYPOGRAPHY HIERARCHY
SECTION THREE : CORPORATE TYPORGRAPHY
THE CORPORATE FONTS
AND TYPOGRAPHY
Typography plays an important role in communicating an overall tone and
quality. Careful use of typography reinforces our personality and ensures
clarity and harmony in all Vermillion communications. We have selected
Cake Sans & Aquatico as primary typfaces and Lato as secondary corporate
typeface, which helps inject energy and enthusiasm into the entire Vermillion
communications.
13. VERMILLIONBRANDGUIDELINES
>>PAGE13//40
A B C D E F G H I J K L M
N O P Q R S T U V W X Y Z
a b c d e f g h i j k l m
n o p q r s t u v w x y z
A B C D E F G H I J K L M
N O P Q R S T U V W X Y Z
a b c d e f g h i j k l m
n o p q r s t u v w x y z
0 1 2 3 4 5 6 7 8 9 0
0 1 2 3 4 5 6 7 8 9 0
CAKESANS REGULAR :
-
AQUATICO REGULAR :
-
FIGURES :
-
FIGURES :
-
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> THE CORPORATE FONTS
>> PRIMARY FONT
SECONDARY FONT
TYPOGRAPHY HIERARCHY
SECTION THREE : CORPORATE TYPORGRAPHY
14. >>PAGE14//40
VERMILLIONBRANDGUIDELINES
03 /
CORPORATE
TYPOGRAPHY
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE CORPORATE FONTS
PRIMARY FONT
>> SECONDARY FONT
TYPOGRAPHY HIERARCHY
SECTION THREE : CORPORATE TYPORGRAPHY
LATO BOLD
LATO LIGHT
LATO BLACK
LATO REGULAR
THE SECONDARY FONT
AND THE TYPOGRAPHY
16. >>PAGE16//40
VERMILLIONBRANDGUIDELINES
TYPOGRAPHY AND
TEXT HIERARCHY
Typographic hierarchy is another form of visual hierarchy, a sub-hierarchy per se in an overall design project.
Typographic hierarchy presents lettering so that the most important words are displayed with the most impact so users
can scan text for key information. Typographic hierarchy creates contrast between elements. There are a variety of ways
you can create a sense of hierarchy. Here are some of the most common techniques for Vermillion layouts.
03 /
CORPORATE
TYPOGRAPHY
CONTEXT TEXT
AND INNER HEADLINES
-
Vermillion Type Captions
-
Lato Regular
6.5 pt Type / 12 pt Leading
Vermillion Type Copy text
-
Lato Regular
9 pt Type / 12 pt Leading
CAPTION TEXT :
-
COPY TEXT :
-
VERMILLION TYPE HEADLINE
-
Lato Regular - Capital Letters
14 pt Type / 18 pt Leading
SUBLINES SECTIONS :
-
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE CORPORATE FONTS
PRIMARY FONT
SECONDARY FONT
>> TYPOGRAPHY HIERARCHY
SECTION THREE : CORPORATE TYPORGRAPHY
17. VERMILLIONBRANDGUIDELINES
>>PAGE17//40
CONTEXT TEXT
AND INNER HEADLINES
-
HEADLINES AND
TYPOBREAKS
-
VERMILLION TYPE
-
Lato Bold - Capital Letters
22 pt Type / 22 pt Leading
HEADLINE 01 :
-
VERMILLION
TYPE-
Lato Bold - Capital Letters
35 pt Type / 35 pt Leading
VERMILLION
TYPE-
Lato Black - Capital Letters
35 pt Type / 35 pt Leading
HEADLINE 02 :
-
HEADLINE 03 :
-
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE CORPORATE FONTS
PRIMARY FONT
SECONDARY FONT
>> TYPOGRAPHY HIERARCHY
SECTION THREE : CORPORATE TYPORGRAPHY
18. >>PAGE18//40
VERMILLIONBRANDGUIDELINES
THE PRIMARY COLOR SYSTEM
AND COLOR CODES
Color plays an important role in the Vermillion corporate identity program. The colors below are recommendations
for various media. A palette of primary colors has been developed, which comprise the “One Voice” color scheme.
Consistent use of these colors will contribute to the cohesive and harmonious look of the Vermillion brand identity
across all relevant media. Check with your designer or printer when using the corporate colors that they will be always
be consistent.
PRIMARY COLOR SYSTEM
-
EXPLANATION:
The Vermillion Brand has two official colors: Red and Gray. These colors have become a recognizable identifier
for the company.
USAGE:
Use them as the
dominant color
palette for all internal
and external visual
presentations of the
company.
04 /
CORPORATE
COLOR SYSTEM
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> THE COLOR SYSTEM
>> THE PRIMARY COLORS
THE SECONDARY COLORS
SECTION FOUR : CORPORATE COLOR SYSTEM
19. VERMILLIONBRANDGUIDELINES
>>PAGE19//40
PRIMARY COLOR
RED
-
COLOR CODES
CMYK : C000 M088 Y073 K009
Pantone : 52-15C
RGB : R215 G055 B056
Web : #d73637
PRIMARY COLOR
GREY
-
COLOR CODES
CMYK : C060 M054 Y048 K060
Pantone : 172-16C
RGB : R068 G064 B066
Web : #3b3a3e
VERMILLION RED VERMILLION GREY
100 % 60 %80 % 40 % 20 %
Red Gradient
100 % 60 %80 % 40 % 20 %
Gray Gradient
COLOR TONES COLOR TONES
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> THE COLOR SYSTEM
>> THE PRIMARY COLORS
THE SECONDARY COLORS
SECTION FOUR : CORPORATE COLOR SYSTEM
20. >>PAGE20//40
VERMILLIONBRANDGUIDELINES
THE SECONDARY COLOR SYSTEM
AND COLOR CODES
SECONDARY COLOR SYSTEM
-
EXPLANATION:
The Secondary colors are complementary to our official colors, but are not recognizable identifiers for
Vermillion brand. Secondary colors should be used sparingly, that is, in less than 10 percent of the palette
in one piece.
USAGE:
Use them to accent and
support the primary
color palette.
04 /
CORPORATE
COLOR SYSTEM
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE COLOR SYSTEM
THE PRIMARY COLORS
>> THE SECONDARY COLORS
SECTION FOUR : CORPORATE COLOR SYSTEM
21. VERMILLIONBRANDGUIDELINES
>>PAGE21//40
COLOR CODES
CMYK : C100 M000 Y000 K024
Pantone : 116-8C
RGB : R000 G131 B187
Web : #0083ba
COLOR CODES
CMYK : C000 M057 Y100 K000
Pantone : 24-8C
HKS : 02K
RGB : R240 G131 B000
Web : #f08300
60 % 40 % 20 % 60 % 40 % 20 %
COLOR CODES
CMYK : C059 M078 Y000 K028
Pantone : 94-13C
RGB : R105 G062 B122
Web : #693d7a
COLOR CODES
CMYK : C100 M000 Y079 K000
Pantone : 136-8C
RGB : R000 G151 B096
Web : #009660
60 % 40 % 20 % 60 % 40 % 20 %
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE COLOR SYSTEM
THE PRIMARY COLORS
>> THE SECONDARY COLORS
SECTION FOUR : CORPORATE COLOR SYSTEM
22. >>PAGE22//40
VERMILLIONBRANDGUIDELINES
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> THE BUSINESS LETTERHEAD
THE BUSINESS CARDS
THE BUSINESS ENVELOPE
SECTION FIVE : CORPORATE STATIONERY
THE COMPANY LETTERHEAD
EXPLANATION:
This shows the approved layouts with the primary elements of the Vermillion stationery system for the letter-
heads.
DIMENSIONS
297 x 210 mm
DIN A4
WEIGHT
120g/m Uncoated
white
PRINT
CMYK
USAGE:
The letterhead will be
used for all official com-
munication that is going
out of Vermillion brand.
05 /
CORPORATE
STATIONERY
VERMILLION CAPITAL ADVISORS PVT LTD
Email: info@vermillioncapital.in Website: www.vermillioncapital.in
Regd Office: F/801, Jai Balaji CHS Ltd, Sector 6, Nerul, Mumbai – 400 706 CIN: U67190MH2008PTC180658
CAPITAL ADVISORS
Corporate Office: 4C & D, Siddhivinayak Chambers, Gandhi Nagar, Bandra (E), Mumbai – 400 051
Lorem Ipsum is simply dummy text of the printing and
typesetting industry. Lorem Ipsum has been the industry's
standard dummy text ever since the 1500s, when an unknown
printer took a galley of type and scrambled it to make a type
specimen book. It has survived not only five centuries, but
also the leap into electronic typesetting, remaining essentially
unchanged. It was popularised in the 1960s with the release
of Letraset sheets containing Lorem Ipsum passages, and more
recently with desktop publishing software like Aldus PageMaker
including versions of Lorem Ipsum.
Contrary to popular belief, Lorem Ipsum is not simply random
text. It has roots in a piece of classical Latin literature from
45 BC, making it over 2000 years old. Richard McClintock, a
Latin professor at Hampden-Sydney College in Virginia, looked
up one of the more obscure Latin words, consectetur, from a
Lorem Ipsum passage, and going through the cites of the word
in classical literature, discovered the undoubtable source. Lorem
Ipsum comes from sections 1.10.32 and 1.10.33 of „de Finibus
Bonorum et Malorum“ (The Extremes of Good and Evil) by
Cicero, written in 45 BC. This book is a treatise on the theory
of ethics, very popular during the Renaissance. The first line of
Lorem Ipsum, „Lorem ipsum dolor sit amet..“, comes from a line
in section 1.10.32.
23. VERMILLION CAPITAL ADVISORS PVT LTD
Email: info@vermillioncapital.in Website: www.vermillioncapital.in
Regd Office: F/801, Jai Balaji CHS Ltd, Sector 6, Nerul, Mumbai – 400 706 CIN: U67190MH2008PTC180658
CAPITAL ADVISORS
Corporate Office: 4C & D, Siddhivinayak Chambers, Gandhi Nagar, Bandra (E), Mumbai – 400 051
VERMILLIONBRANDGUIDELINES
>>PAGE23//40
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> THE BUSINESS LETTERHEAD
THE BUSINESS CARDS
THE BUSINESS ENVELOPE
SECTION FIVE : CORPORATE STATIONERY
LETTERHEAD
DOWNLOAD LINK
http://www.vermillion.com/
branding/letterhead
Lorem Ipsum is simply dummy text of the printing and typesetting industry. Lorem Ipsum has
been the industry's standard dummy text ever since the 1500s, when an unknown printer took
a galley of type and scrambled it to make a type specimen book. It has survived not only five
centuries, but also the leap into electronic typesetting, remaining essentially unchanged. It was
popularised in the 1960s with the release of Letraset sheets containing Lorem Ipsum passages,
and more recently with desktop publishing software like Aldus PageMaker including versions
of Lorem Ipsum.
Contrary to popular belief, Lorem Ipsum is not simply random text. It has roots in a piece of
classical Latin literature from 45 BC, making it over 2000 years old. Richard McClintock, a Latin
professor at Hampden-Sydney College in Virginia, looked up one of the more obscure Latin
words, consectetur, from a Lorem Ipsum passage, and going through the cites of the word
in classical literature, discovered the undoubtable source. Lorem Ipsum comes from sections
1.10.32 and 1.10.33 of „de Finibus Bonorum et Malorum“ (The Extremes of Good and Evil) by
Cicero, written in 45 BC. This book is a treatise on the theory of ethics, very popular during the
Renaissance. The first line of Lorem Ipsum, „Lorem ipsum dolor sit amet..“, comes from a line
in section 1.10.32.
It is a long established fact that a reader will be distracted by the readable content of a page
when looking at its layout. The point of using Lorem Ipsum is that it has a more-or-less normal
distribution of letters, as opposed to using ‚Content here, content here‘, making it look like
readable English. Many desktop publishing packages and web page editors now use Lorem
Ipsum as their default model text, and a search for ‚lorem ipsum‘ will uncover many web sites
still in their infancy. Various versions have evolved over the years, sometimes by accident,
sometimes on purpose (injected humour and the like).
There are many variations of passages of Lorem Ipsum available, but the majority have suffered
alteration in some form, by injected humour, or randomised words which don‘t look even
slightly believable. If you are going to use a passage of Lorem Ipsum, you need to be sure there
isn‘t anything embarrassing hidden in the middle of text. All the Lorem Ipsum generators on
the Internet tend to repeat predefined chunks as necessary, making this the first true generator
on the Internet.
It uses a dictionary of over 200 Latin words, combined with a handful of model sentence
structures, to generate Lorem Ipsum which looks reasonable. The generated Lorem Ipsum is
therefore always free from repetition, injected humour, or non-characteristic words etc.
24. Pratapsingh Nathani
Managing Director
pratap@vermillioncapital.in
4C & D, Siddhivinayak Chambers, Gandhi Nagar, Opp MIG Cricket Club,
Bandra (E), Mumbai – 400051
www.vermillioncapital.in+91 9820 408 784
+91-22-26557500
VERMILLION CAPITAL ADVISORS PVT LTD
>>PAGE24//40
VERMILLIONBRANDGUIDELINES
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES
05 /
CORPORATE
STATIONERY
CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE BUSINESS LETTERHEAD
>> THE BUSINESS CARDS
THE BUSINESS ENVELOPE
SECTION FIVE : CORPORATE STATIONERY
EXPLANATION:
This shows the approved layouts
with the primary elements of the
Vermillion stationery for business
cards.
DIMENSIONS
90 x 50 mm
WEIGHT
350g/m Uncoated
white
PRINT
CMYK
FRONTSIDE:
BACKSIDE:
THE COMPANY BUSINESS CARDS
BLANK
25. VERMILLIONBRANDGUIDELINES
>>PAGE25//40
COMPANY
ENVELOPE
EXPLANATION:
This shows the approved layouts with the
primary elements of the Vermillion stationery
system for the envelope
DIMENSIONS
Big Envelope: 12 x 9 in
Small Envelope: 10.75 x 4.75 in
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE BUSINESS LETTERHEAD
THE BUSINESS CARDS
>> THE BUSINESS ENVELOPE
SECTION FIVE : THE BUSINESS ENVELOPE
PRINT
CMYK
VERMILLION CAPITAL ADVISORS PVT LTD
Email: info@vermillioncapital.in Website: www.vermillioncapital.in
CAPITAL ADVISORS
Corporate Office: 4C & D, Siddhivinayak Chambers, Gandhi Nagar, Bandra (E), Mumbai – 400 051
CAPITAL ADVISORS
VERMILLION CAPITAL ADVISORS PVT LTD
Email: info@vermillioncapital.in Website: www.vermillioncapital.in
Corporate Office: 4C & D, Siddhivinayak Chambers, Gandhi Nagar, Bandra (E), Mumbai – 400 051
26. >>PAGE26//40
VERMILLIONBRANDGUIDELINES
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> THE CORPORATE IMAGES
>> COLORED IMAGES
BLACK AND WHITE IMAGES
BLENDING MODES
SECTION SIX : IMAGES AND BLENDING MODES
VERMILLION
CORPORATE IMAGE : COLORED IMAGES
EXPLANATION:
Corporate Images are responsible to transfer the values of Vermillion to our customers and our potential customers. It is a composite psychological
impression that continually changes with the firm’s circumstances, media coverage, performance, pronouncements, etc. Vermillion uses various
corporate advertising techniques to enhance their public image in order to improve their desirability as a supplier, employer, customer, borrower,
partner, etc.
06 /
IMAGES AND
BLENDING MODES
27. VERMILLIONBRANDGUIDELINES
>>PAGE27//40
EXAMPLES FOR
VERMILLION CORPORATE IMAGE
-
REQUIREMENTS:
- high contrast
- sharp images
- Minimal style
- modern and businesslike
- Preferably close up photos
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> THE CORPORATE IMAGES
>> COLORED IMAGES
BLACK AND WHITE IMAGES
BLENDING MODES
SECTION SIX : IMAGES AND BLENDING MODES
28. >>PAGE28//40
VERMILLIONBRANDGUIDELINES
VERMILLION
CORPORATE IMAGE : BLACK & WHITE
EXAMPLES FOR
VERMILLION CORPORATE
IMAGE
-
06 /
IMAGES AND
BLENDING MODES
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE CORPORATE IMAGES
COLORED IMAGES
>> BLACK AND WHITE IMAGES
BLENDING MODES
SECTION SIX : IMAGES AND BLENDING MODES
29. VERMILLIONBRANDGUIDELINES
>>PAGE29//40
REQUIREMENTS:
- black and white colours
- high contrast
- sharp images
- minimalistic look
- modern and businesslike
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE CORPORATE IMAGES
COLORED IMAGES
>> BLACK AND WHITE IMAGES
BLENDING MODES
SECTION SIX : IMAGES AND BLENDING MODES
30. YOUR SLOGAN OR TAGLINE
CAN COME IN THIS AREA
>>PAGE30//40
VERMILLIONBRANDGUIDELINES
VERMILLION
BLENDING MODES FOR IMAGES
EXPLANATION:
Image effects and blending modes raise the
concision and the recognizability of a brand.
Also they are able to divide content and other
graphical elements that are used in layouts.
In the same way the support statement of the
used images and raise application possibilities.
06 /
IMAGES AND
BLENDING MODES
SAMPLE IMAGE STYLE1 SAMPLE IMAGE STYLE2
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE CORPORATE IMAGES
COLORED IMAGES
BLACK AND WHITE IMAGES
>> BLENDING MODES
SECTION SIX : IMAGES AND BLENDING MODES
31. SHORT
TAGLINE
VERMILLIONBRANDGUIDELINES
>>PAGE31//40
EXAMPLES FOR
VERMILLION BLENDING MODES
-
HOW TO:
1) use it in black and white images colours
2) use a placeholder with a yellow back
3) adjust the layer style to “Multiply” and opa-
city at 70% (only if image is too dark)
4) in case of color images, desaturate & use.
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE CORPORATE IMAGES
COLORED IMAGES
BLACK AND WHITE IMAGES
>> BLENDING MODES
SECTION SIX : IMAGES AND BLENDING MODES
32. >>PAGE32//40
VERMILLIONBRANDGUIDELINES
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> THE ICONOGRAPHY
>> ICON PARAMETER
APPLICATION
DONT´S
SECTION SEVEN : ICONOGRAPHY AND APPLICATION
VERMILLION
CORPORATE ICONOGRAPHY
EXPLANATION:
An icon is a pictogram displayed on a screen or print layout in order to help the user navigate through the content in a easier way. The icon itself is
a small picture or symbol serving as a quick, “intuitive” representation of a software tool, function or a data file. Following are sample icons to depict
the style desired for any iconography to be used for Vermillion Brand.
ICON PARAMETER
-
- Minimum: 26 px x 26 px
- minimum stroke size: 0.5 pt
- upscale only proportional
- Only 100 % color
100 % 75 % 50 % 25 %
07 /
CORPORATE
ICONOGRAPHY
33. VERMILLIONBRANDGUIDELINES
>>PAGE33//40
ICON WITH BACKROUND
-
- Minimum: 26 px x 26 px
- minimum stroke size: 0.5 pt
- upscale only proportional
ICON WITHOUT A
BACKROUND
-
- Minimum: 26 px x 26 px
- minimum stroke size: 0.5 pt
- upscale only proportional
DONT´S
-
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE ICONOGRAPHY
ICON PARAMETER
>> APPLICATION
>> DONT´S
SECTION SEVEN : ICONOGRAPHY AND APPLICATION
34. >>PAGE34//40
VERMILLIONBRANDGUIDELINES
NOTE FROM THE
DESIGN AGENCY
WE HOPE YOU FIND THE BRAND GUIDELINES
USEFUL AND FOLLOW THEM TO MAKE THE
VERMILLION BRANDING CONSISTENT ACROSS
ALL COMMUNICATION MEDIUMS
-
THE PURPOSE OF A BRAND:
Brand is our audience’s perception of what we do, what we stand for, and what makes us relevant. When the
elements of our brand identity—how we look and how we sound—are aligned with what we do and what we
say, we can connect with our audience in a way that is authentic and meaningful.
VERMILLION
Brand and Design
Manual 2016
08 /
SUMMARY
AND CONTACT
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> SUMMARY
CONTACT
SECTION EIGHT : SUMMARY AND CONTACT
35. VERMILLIONBRANDGUIDELINES
>>PAGE35//40
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
SUMMARY
>> CONTACT
SECTION EIGHT : SUMMARY AND CONTACT
FOR FURTHER QUESTIONS DO
NOT HESITATE TO
CONTACT US
-
CONTACT:
Harshal Desai
Co-Founder, BASE 501
E: hershey@base501.com
P: +91-981-981-1985
RESPONSIBLE
AGENCY AND
DESIGNERS
-
AGENCY:
BASE 501
CO-FOUNDERS AND
DESIGNERS:
Harshal Desai
Shefali Desai
JUNIOR DESIGNER :
Jheel Goradia
36. >>PAGE36//40
VERMILLIONBRANDGUIDELINES
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
>> THE DOWNLOAD SECTION
>> THE LOGO
THE STATIONERY
ICONOGRAPHY
SECTION NINE : FILES AND DOWNLOADS
VERMILLION
BRAND REPOSITORY
EXPLANATION:
All branded assets are available on the following links. Please email branding@vermillioncapital.in or our Marketing De-
partment if you have more questions pertaining the usage of these assets.
WEB LINK
Link : http://www.vermillioncapital.com/branding/logo.zip
VERMILLION LOGO
-
09 /
DOWNLOAD OF
THE MANUAL CONTENT
37. VERMILLIONBRANDGUIDELINES
>>PAGE37//40
WEB LINK
Link : http://www.vermillioncapital.com/branding/stat.zip
WEB LINK
Link : http://www.vermillioncapital.com/branding/icon.zip
WEB LINK
Link : http://www.vermillioncapital.com/branding/full.zip
VERMILLION STATIONERY
-
VERMILLION
ICONOGRAPHY
-
VERMILLION FULL
MANUAL PDF
-
ISSUE 01
VERMILLION DESIGN AND
BRAND GUIDELINES CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
THE DOWNLOAD SECTION
THE LOGO
>> THE STATIONERY
>> ICONOGRAPHY
SECTION NINE : FILES AND DOWNLOADS
39. Design is the silent ambassador for your brand
Paul Rand
If you have additional questions you are
unable to answer with the help of this
guide, please contact the Marketing
Department
CONTACT:
Isha Inamdar
Manager - Group Corporate Communica-
tions
E: isha@vermillioncapital.in
P: +91-22-26557500
M: +91-9987-665-583
40. CORPORATE BRAND
MANUAL
CREATED FOR :
VERMILLION GROUP
RESPONSIBLE AGENCY :
BASE 501
CREATION DATE :
OCTOBER 2015
BRANDING GUIDELINES AND MANUAL FOR DESIGNERS