table of contents 1. background overview 1.1. company overview 1.2. brand philosophy 2. the design 2.1. logo usage 2.1.1. master logo & alternatives 2.1.2. exclusion zone 2.1.3. reproduction size & ratio 2.1.4. acceptable & unacceptable 2.2. color pallette 2.3. typeface 2.3.1. primary typeface 2.3.2. secondary typeface 3. media application 3.1. restaurant signage 3.2. collaterals 3.3. staff uniform
background overview
company overview warung sunda ibu haji cijantung is an authentic sundanese restaurant originated from purwakarta. the business was pioneered by ibu haji siti aminah in 1997 where she built a food stall selling sundanese dishes at a small village where she lived called cijantung. serving simple sundanese cuisine dishes that maintain the original taste of archipelago and emphasize simplicity in terms of culinary, supported by the calming atmosphere from panoramic view of the highlands, their signature taste of dishes became inherent to many people. until today, the business has grown massively all over the country resulting in over than 40 restaurant branches in major cities in indonesia such as jakarta, bogor, bandung, surabaya, jogjakarta, palembang, and bandar lampung through franchise royalty.
brand philosophy the design of the brand preferred for most of applications. it contains of two elements that can be separated when required: the illustration and the text. the illustration consists of four major graphic elements: ayam goreng, lalapan, sambal and bakul. those elements were chosen as the best components that show the essential image of a sundanese cuisine. the style of the illustration uses flat and modern graphic to follow the latest trend. a group of colors with earthtone swatches to represent simplicity and modesty of indonesian culture. while the style of the text was chosen to describe humbleness, yet bold and classic traditional character.
the
design
logo usage master logo
logograph
logotype
master logo acts as the main design and an absolute guideline for every purposes. the complete master logo consists of two part of elements: logograph and logotype, as shown beside. in terms of hierarchy, the logograph will always come on top of the logotype. the complete master logo is basically surrounded with a 2.5px bigger offset path. the look of the master logo is fixed and permanent. however, there are several exceptions in dealing with some circumstances as explained in detail in the following sections.
logo usage
alternatives standards
for some conditions, logograph and logotype are capable to stand independently. both design does not surrounded with an offset path. if both elements need to be presented on the same surface, one of them will represents the brand logo and the other will be counted as an illustration. it means that at the same page, the illustration cannot be in the same proportional size as the logo, it either be bigger or smaller.
logo usage exclusion zone
the integrity of the master logo relies on a clear and legible presentation. to provide the proper setting and to comply with trademark standards, the logo must be surrounded by space that is clear of graphic or typographic elements. this space is called exclusion zone. the measurement to set the exclusion zone is shown in the picture beside.
logo usage
reproduction size & aspect ratio
5x
8x
the logo must be fl exible in size to accomodate a variety of demands for use. to insure readability and maintain integrity, the proportional size of the logo can be measured by the aspect ratio of the design which is 8:5. variable x as stated in the picture beside remarks the amount of number needed for the logo size.
logo usage
acceptable & unacceptable the following list describes ways in displaying the master logo at certain conditions, which is basically a further explanation of the alternative standards usage. the following terms and conditions are absolute and unchangeable without any permission to both the corporation and the designer. in order to maintain the stability position of the brand, it is important to strictly follow the terms and conditions as the standards mentioned on this guideline.
tolerable usage without offset path without any changes on composition tolerable usage of grayscale color tone for any black and white paper documents tolerable usage of one (1) logo element partially without any combination with the other logo element directly tolerable usage of outer offset path either for the master logo or partial alternative standards with 2.5px in size only
untolerable usage of the master logo in any term that will stretch the design unproportionally untolerable usage of the master logo that involved with changes on the orientation of the design untolerable usage of the master logo that involved with changes to the color tone of the design untolerable usage of the master logo that related with any rearrangement with the composition of the design untolerable usage of the master logo that will crop /cut the design partially and unproportionally untolerable usage of the master logo that includes any element alteration to the design untolerable usage of the master logo with any application of additional effects or styles to the design untolerable usage of the master logo with applying any additional filter or texture to the design
color palette listed below, the group of color used for both logograph and logotype. certain shade of color was chosen with the reason to have a balance of color combination in the logo, which is more prominent to the eye.
PANTONE® 357 C
PANTONE® 7483 C
PANTONE® 370 C
PANTONE® 377 C
PANTONE® 376 C
PANTONE® 365 C
PANTONE® 372 C
PANTONE® 732 C
PANTONE® 7526 C
PANTONE® 7565 C
PANTONE® 134 C
PANTONE® 463 C
PANTONE® 4655 C
PANTONE® 7507 C
PANTONE® 207 C
PANTONE® 186 C
PANTONE® 1788 C
PANTONE® 663 C
typefaces the primary typeface is used for any usage of headline or title, subheadline, and main body copy. basically, the primary typeface was adapted from the typeface that the logotype uses. this to keep the harmony of the design one to another. the secondary typeface is used for any additional necessary text that has a lower level of importance than the main body copy. for example, when it is required to use different numbering style, the secondary typeface will help to vary the style of the body copy to ensure the audience will read the message.
primary typefaces mrs eaves petite caps
mrs eaves small caps
secondary typefaces mrs eaves roman
mrs eaves roman italic
media
application
restaurant signage
collaterals
staff uniform
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