TABLE OF CONTENTS
3
Introduction
5
Logo Usage
11
Colour Palette
13
Typeface
17
Design Elements
19 31 36
Imagery
Packaging
Social Media
INTRODUCTION
1861 BOUTIQUE is a Montreal based women’s fashion store that almost every woman wishes was her walk-in closet. Filled with fabulous, one of a kind products from international designers, you’re guaranteed to inspired décor.
your purchase. Walking through, you’ll be taken back to the glamorous past and reminded of what it means to be a woman. Inspired by Marie-Antoinette, we can agree in saying more is more and that means more stores, in more international locations, with more products on our website with many more designers and customers to come. If there’s one thing we aim to remind you, it’s that you don’t always need an occasion to dress well -- just inspiration from our store and perhaps a good lipstick.
PRIMARY ELEMENTS As complex as our cover page may look, the brand’s overall guide is quite simple and easy to follow. Here are some of the general concepts to remember when representing 1861 BOUTIQUE.
our graphic prints hold as much importance, if not more, than our logo itself. When limited to only one print, this should be the chosen graphic, as it represents the overall brand best.
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LOGO
COLOURS
CMYK - 6, 38, 12, 0 RGB - 231, 170, 185 PMS - 508 C
20%
80%
1861 BOUTIQUE Pink
Black
CMYK - 0, 0, 0, 100 RGB - 35, 31, 32 PMS - BLACK C
TYPEFACES
FEEN A CASU A L COPASETIC HELVETICA
- 1861 Logo - BOUTIQUE
- Body text
GRAPHIC PRINT
LOGO USAGE We love our logo and you should too! Please treat it nicely and use it properly.
COLOUR is not permitted or a serious tone is suggested, the black on white is preferred. If no other option is suitable, the white on black may be used. These are the only colour options for the is recreated.
SIZE Just like our customers, our logo comes in all sizes. However, to ensure legibility, it should appear no smaller than .5”x.5”. When enlarging, our logo has no limits, but bigger is not always better. If unsure about the size, negative space is always your friend.
SHAPE We believe everyone has a special someone, and in the case of our logo, 8 and 6 will be together forever. They love to spend time together, so please don’t ever separate them! The 1’s placed on both sides of the 86 always face outwards. Be sure to never let either of them turn in.
SPACE To keep our logo looking its best, it needs a bit of space -but not too much! The amount we indicated is just right. It should surround the logo at all times unless noted otherwise.
REMEMBER... 1861 may be used and is encouraged to be used without BOUTIQUE, however, the context in which it appears must clearly use the full logo at some point.
5
COLOUR
BLACK ON WHITE
.5”x.5”
WHITE ON BLACK
1/3 x
4 1/3 x 5 2/3 x
x
CMYK - 6, 38, 12, 0
RGB - 231, 170, 185
PMS - 508 C
CMYK - 0, 0, 0, 100
RGB - 35, 31, 32
PMS- BLACK C
DO’S
1
Use the logo on a white background whenever possible.
2
If a coloured background and full colour is necessary, use 1861 BOUTIQUE pink or black as the background.
3
appear in the same type, space and position.
4
Align BOUTIQUE with the middle edges of the 1’s. Center visually using the bottom of the 86 overlap as a center point.
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1
2
3
4
DOnt’S
1
Change logo’s orientation.
2
Add extra effects.
3
Attempt to recreate the logo.
4 5 6
Use colours outside of the brand’s palette. Scale the logo unproportionately.
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1
3
2
4
5
6
COLOUR PALETTE Our colours are bold, but classy, and feminine without going over the top. We know not everyone loves pink as much as we do, so we aim for a more basic black and white palette and simply use the pink to accessorize. Our black and white world allows our customers’ personalities to be the only splash of colour we really need. But since we like pink, that one had to be added too.
PINK Pink, pink, pink. It’s clear we like pink. But not just any pink or too much of it either. Be sure to stick with 1861 BOUTIQUE pink for all primary uses of colour, unless noted otherwise.
aesthetic does not focus on colour, it is not on brand to simply add a large range of colours to our palette. Therefore, we added variations of warm pink and peach hues that compliment our primary palette, without straying from the brand. These colours enhance the vibrancy and youth of the store. Consider these colours for campaign posters.
GRAY To touch on our vintage inspirations, a select few gray tones will also be used sparingly, but more frequently than the above pink palette. The purple undertones in these colours will help to create a more sophisticated and elegant aesthetic. Consider these colours for formal invitations.
REMEMBER... These extra hues are to be used according to the percentages listed, unless noted otherwise. They will be used in situations where additional colour variations are necessary and must always be accompanied by one of the brand’s primary colours. When using both sets of secondary colours, consider combining the colours placed next to each other.
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PRIMARY
CMYK - 6, 38, 12, 0 RGB - 231, 170, 185 PMS - 508 C
20%
80%
1861 BOUTIQUE Pink
CMYK - 0, 0, 0, 100 RGB - 35, 31, 32 PMS - BLACK C
Black
SECONDARY
CMYK - 0, 16, 4, 0 RGB - 252, 220, 225 PMS - 705 U
45%
45%
CMYK - 13, 11, 12, 0 RGB - 219, 217, 214 PMS - COOL GRAY 1 U
CMYK - 4, 26, 18, 0 RGB - 235, 195, 190 PMS - 7605 U
40%
40%
CMYK - 15, 18, 15, 0 RGB - 214, 202, 202 PMS - 434 U
CMYK - 5, 47, 20, 0 RGB - 233, 155, 166 PMS - 494 U
10%
10%
CMYK - 12, 22, 24, 0 RGB - 222, 196, 184 PMS - 4755 U
CMYK - 0, 71, 21, 0 RGB - 241, 111, 144 PMS - 1915 U
5%
5%
CMYK - 0, 22, 30, 0 RGB - 253, 206, 174 PMS - 475 U
TYPEFACE
We love to talk, as you may have already noticed. We believe everyone has something special and unique to say. And numbers? Don’t even get us started on how fabulous those little guys can be. Without them, our brand couldn’t possibly exist.
and visual branding that these fonts are used ex effective in both print and web, therefore no modications will ever need to be made.
FEENA CASUAL = The 1861 in our logo uses an altered version of this typeface. Unique to the brand, it is important the original type is never used instead. Always use our version, which only appears in the logo and graphic prints.
COPASETIC = In addition to the word BOUTIQUE in our logo, this typeface is used for headings and sub-headings. If in need of a decorative font, Copasetic will always be there for you to use. Visually pleasing to the eye, we love to use this typeface and encourage experimentation with its use. However, the overall look (spacing, proportions, etc) must remain on brand while the options are endless. To increase legability, the space between each letter (tracking) should always be set to 60 and should not appear any smaller than 7pt. However, when used in the logo, the tracking is set to -20.
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PRIMARY2-2PRINT2/2WEB2
FEEN A CASU A L A BCDEFGH IJ K LM NOPQR STUVWXYZ abcdefghij k lm nopqrstu v wxyz 0123456789-(.,:?+!#)* $%[/]&^@ <> BEFORE
AFTER
1861 COPASETIC ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789-.,:?!*”$&@
TYPEFACE
HELVETICA = Body text If it’s not the logo. It’s not a heading. It’s not decorative. It’s Helvetica! To be used for all body, sub-sub heading and miscellaneous text, this sans serif is easy to read and visually appealing. There is only one exception, the lower case “x”. The creator of Helvetica, Max Miedinger seemed to have had a little too much fun when designing this character, as it’s quite a bit shorter than the rest. Although we love everyone regardless of their differences in size and shape, when it comes to reading, we’d prefer if your head didn’t start to hurt every time you witnessed this interesting x. So here’s our treat to you. A new lower case “x”. The only alteration will be made to the vertical scale. It will be changed from 100% to 104%
TYPE FAMILY With Helvetica’s large typefamily, the options are endless. But, we do have a few favourites. Helvetica Regular is always our number one. There is no reason other family members can’t be used in combination with Regular. Regular however, must be present at all times when body text is present. Light and Bold represent our brand best through their delicacy and power. They may be used in combination with each other and Regular or used seperately, while still paired with Regular. Overall, both Light and Bold appear in our content 25% of the time. Tracking should always be set to 20 when using either Regular, Light or Bold. Due to our traditional inspirations, the typeface’s Oblique variations are off brand and should never be used.
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SECONDARY - PRINT / WEB
HELVETICA ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789-(.,:?+!#)*”$%[/]&^@<
AFTER
BEFORE
example example HELVETICA LIGHT ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789-(.,:?+!#)*”$%[/]&^@<
HELVETICA BOLD ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789-(.,:?+!#)*”$%[/]&^@<
DESIGN ELEMENTS
When creating both informational documents and promotional content the overall aesthetic must communicate our brand, but remain appropriate for the context in which it is shown.
INFORMATIONAL DOCUMENT When using type in informational documents, legibility and effective placement are extremely centered and sub-headings should be aligned left. The typeface (Helvetica) should appear no smaller than 9/ll (Font size: 9 pt, Leading: 11 pt). Borders may be used to contain information in an aesthetically pleasing manner, while alluding to our traditional and vintage inspirations. They should appear in 1861 BOUTIQUE pink with a 2 pt thickness. A portion of the center top and bottom of the borders never appear, as this is where the heading and brand logo appear.
PROMOTIONAL CONTENT Far more freedom and expression can be found in promotional content. However, we do have one guideline in regards to text placement. Whenever possible, the text should be centered. If the text is not aesthetically pleasing while centered, adjust it to an appropriate alignment.
ORIENTATION use your best judgment, but keep in mind the overall aesthetic of 1861 BOUTIQUE.
17
EXAMPLE (Letterhead)
Recipient’s name Recipient’s title Recipient’s company Recipient’s company address Date Recipient’s Name,
Single space your letters and use a serif typeface. Skip a line between paragraphs. Because people read business letters quickly, use shorter sentences and paragraphs than you would in a longer document. Sentences should average fewer than twenty words, and paragraphs should average fewer than seven lines. Space your letter on the page so that it does not crowd the top. However, if possible, keep your letter to one page. Second pages often are not read. Send copies to anyone whose name you mention in the letter or who would be directly affected by the letter. Final paragraphs should tell readers what you want them to do or what you will do for them.
Sincerely, Signature Name
IMAGERY PHOTOGRAPHS A picture can speak a thousand words. But, since every person interprets images differently, that could mean more than a thousand different perceptions, when our brand is really trying to convey just one. For this reason, traditional photography is used sparingly. Typically, it is only seen when communicating products (ex. lookbook). When photography is used, the photos will be clean, simple and overexposed, in order to best display the product and to allow the subject to speak for itself. However, depending on the context of the shoot, additional props and backdrops may be used, but must compliment the product and brand. Examples may be provided upon request. They have not been included because we feel photographs do not properly represent the 1861 BOUTIQUE aesthetic.
GRAPHICS Rather than focusing on photographs, we’ve created our own graphic prints. We think they’re pretty cool, so we love to use them as much as possible. The bold, high contrast, black and white prints are a strong representation of the brand and can be recognized without seeing our full logo. 1861 BOUTIQUE pink may be added to the prints as well, but should always be either subtle or dominant. Never, should a graphic print include an equal amount of both pink and black. One colour must always take the lead. The graphic prints are all created by manipulating the logo, repeating the motif and experimenting with size variations. These prints are used wherever and whenever possible. They are found primarily on packaging, stamps and signage. However, if the context allows imagery, add it. We’ll love you and the print even more, if you do. And because we love our prints so much, we’ve dedicated quite a few pages of our style guide to showing you examples of our graphic prints. Enjoy.
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DOâ&#x20AC;&#x2122;S
1
Use the print on a white background only.
2
Use mostly white and either 1861 BOUTIQUE pink or black.
3
Combine the use of 1861 BOUTIQUE pink and black. However, one must take precedence over the other.
4
Create variations of the original logo by manipulating the orientation and size of
REMEMBER... These designs must only be used as a graphic print and never as revised brand logos.
27
1
3
2
4
DOntâ&#x20AC;&#x2122;S
1
Change the line thickness or stroke.
2
Use alternative typefaces.
3
Outline the text.
4
Attempt to recreate the logo entirely.
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1
2
3
4
PACKAGING
When designing the packaging for our brand, it is important that it is not just a bag or just a box that is being created. We are designing a lifestyle, an emotion and enhancing the relationship between the brand and our customers, that lasts much longer than their trip home from our store. We want to attract customers with our packaging, not just our products. When our bag is carried down the street, we aim to turn heads and leave the public wanting to know more about who we are and how they too, can own such a beautiful bag.
COLLECTIONS set. Each set includes a tall bag, rectangular box and oval jewellery box. Each collection is to continue the concept of pink as an accessory. By designing packaging collections, customers are able to choose from a variety of bags and boxes, the ones they feel best represnt themselves or those who they are buying for. This creates an active role for the customer in choosing how they want to be associated with our out which characteristics they identify best with and believe to be most alluring.
LOCATIONS As we continue to grow as a brand, so do the amount of locations we cator to. Expanding our sales online through our website, shipping products has become increasingly important to us and so we felt this was as a great opportunity to introduce stamps to our packaging design system. Because we have access to a limited amount of shipping packages, but still want our customers to share in the expereience of choosing their own packaging, we have designed several stamps and stickers for them to choose from when ordering with us online at www.1861.ca.
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COLLECTION 1 Created with http://www.ideogram.nl/boxmaker Twitter: @Template_Maker
Gift Box 6 x 5 x 4 in
Created with http://www.ideogram.nl/boxmaker Twitter: @Template_Maker
Bag 8 x 15 x 4 in
Created with http://www.ideogram.nl/boxmaker Twitter: @Template_Maker
illow pa k 1 x
x 15 m
COLLECTION 2
COLLECTION 3
COLLECTION 4 Created with http://www.ideogram.nl/boxmaker Twitter: @Template_Maker
i t Box
x 5 x 4 in
Created with http://www.ideogram.nl/boxmaker Twitter: @Template_Maker
Bag 8 x 15 x 4 in
Created with http://www.ideogram.nl/boxmaker Twitter: @Template_Maker
illow pa k 1 x
x 15 m
STAMPS / STICKERS
SOCIAL MEDIA
To help increase awareness of our brand, we’ve created a large social media presence. We target women ages 18-24 and if there’s one thing we know for sure about these ladies, it’s that they love to be connected. With their phones on them at all times, social media is the most appropriate way for these customers to contact our brand and see what we’ve up to.
NETWORKS We have pages on Facebook, Twitter, Instagram, Pinterest and Tumblr. Because Facebook, Twitter and Instagram are the networks customers are most likely to connect with, we only use those three icons in our promotional content. However, when designing for our website
ICONS The icons must always appear in white and on a black, circular background. The icon must always be centered in the circle and remain properly spaced when resizing. These icons are secondary to our logo and must therefore always be smaller.
USAGE Placement is key for these secondary icons, as we don’t want them to over power our logo. A good general location for them would be at the bottom left hand corner, as seen in the business card example. Although they draw attention, the icons are well balanced with the brand should appear, but they must compliment the overall design layout. Add these icons to all consumer based content where direct communication between the consumer and brand are vital (ex. business card, event poster, website, informal invitation)
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NETWORKS
2x
x
1861 https://www.facebook.com/boutique1861
@boutique1861 https://twitter.com/boutique1861
@boutique1861 http://instagram.com/boutique1861
COLOURS
CMYK - 0, 0, 0, 100
RGB - 35, 31, 32
EXAMPLE (Business Card)
PMS- BLACK C