Brand Guidelines
s
01
Radio Maria
Innovation / Strategy
Section 1
Brand Marque
02
Brand Marque
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 1
Brand Marque
03
Brand Guidelines
Use of Language
Introduction
Payoff
The New Radio Maria
Goal
The new Radio Maria offers a more approachable brand that invites potential listeners/consumers to engage with the content through an improved system of communication both visually and linguistically.
With the rebranding of Radio Maria’s visual identity has come a new means to engage younger audiences with topics revolving around religion.
The biggest difficulty of branding religious content is engaging more diverse audiences who might not share the same beliefs. This is tackled by communicating to the audience that Radio Maria will not talk to you, but talk with you. This approach intends to reach audiences who might not necessarily associate themselves with religion, but might find interest in topics that engage with religious concepts.
The mission of the new branding strategy is to bring a fresh, youthful energy to Radio Maria with the intention to increase diversity and reach, whilst maintaining the older audiences. It is crucial to remember that Radio Maria is becoming a platform that offers discussions and conversations that extend the topic of religion to areas other stations are not willing to go.
Join the Coversation Join the Conversation with Radio Maria
The new identity also brings an overhaul to the management of content, offering a new system for effective communication on social platforms as well as removing the boundaries on what type of discussions will be held. The new Radio Maria pushes the envelope for engaging religious discussion around the world.
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 1
Brand Marque
04
Brand Marque
Structure Features In the construction of the logo the golden ratio is used to maintain aesthetic proportions and consistency from one side of the logo to another.. The shape is a combination of the universal symbol of a speech bubble and the Latin character for “M”. It was important to keep the logo a large readable shape, without negative space inside so it can function within the prepared identity system. In addition, the simplicity of the shape is easily memorable, and can be recalled like most religious symbols. The rounded features of the logo are contrasted with the stronger edges of the non-serif typeface. Most importantly, the logo is intended to be flexible, for any potential future applications and longevity.
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 1
Brand Marque
05
Brand Marque
Rules Primary Logos The three different variations of the logo marque intend to provide solutions for any future problems regarding design and function. The marque on its own maintains legibility at most scales, as well as a canvas for potential branding exploration. The variations with text provide a solution for more professional applications, as well as situations where the name of the brand would be important to include. Exclusion Zone The exclusion zone always intends to use the typography of Radio Maria as a base for measuring both width and height. This makes the marque easily scalable and reduces the potential for errors in mismeasurement.
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
s
02
Radio Maria
Innovation / Strategy
Section 2
Colour Palette
06
Colour Palette
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 2
Colour Palette
07
Colour Palette
Swatches Description
Usage
Description
Usage
The dark blue colour provides a basis for contrast for the two other lighter colors within the palette, but more importantly a close connection with the subject of Radio Maria.
The dark blue should be used primarily as a background for the other colours, but also as a heavy accent at times.
The light blue provides an alternate tone to the darker blue, but also a softer pastel colour to help push the pop visual style.
The light blue pairs nicely with lighter colours for type that benefits from low contrast. The light blue should also be used to make the hot pink pop.
Primary Color Dark Pastel Blue
Primary Color Light Pastel Blue
Color Code
Color Code PANTONE
304 C
CYMK
35
0 70 184
RGB
152 223 238
0047BB
HEX
A6FFFA
PANTONE
2728 C
CYMK
0 76 0
RGB HEX
The Gradient
IED Istituto Europeo di Design
0
0
2
0
The Gradient
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 2
Colour Palette
08
Colour Palette
Swatches Description
Usage
Description
Hot pink is a colour introduced to the palette as a way to balance the warms and cools when creating the pop iconography and image treatments.
The hot pink pairs nicely with the beige The Beige acts as the white of the pastel when bringing type to life. In palette, contrasting nicely with all the addition it pairs as a warm colour to other colours in the palette. the main dark pastel blue.
The warmth of the beige makes the main dark pastel blue pop, and light pastel blue pop, while providing a nice subtler contrast with hot pastel pink.
Primary Color Hot Pastel Pink
Primary Color Beige Pastel
Color Code
Color Code PANTONE
9285 C
CYMK
0
231 169 191
RGB
253 243 233
E4A9BB
HEX
F2EBE7
PANTONE
508 C
CYMK
1
RGB HEX
The Gradient
IED Istituto Europeo di Design
Usage
37
3
0
3
5
0
The Gradient
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 2
Colour Palette
09
Colour Palette
Ratio 01 Primary The most dominant colour within the new branding system honours the original brands primary colour to keep likeness with previous audiences.
02 Secondary The secondary colour balances the palettes cool primary colour, whilst also providing suitable for applicaiton onto a large variety of religious paintings.
03 Tertiary The beige provides a nice light colour that brings more diversity and flexibility to the palette. It can also act as a replacement for any plane whites.
04 Quatenary The light blue is used sparingly to not over dominate the palette with cold hues. Its primary function is to add variety to the pastel tones when creating graphics and to act as an accent.
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
s
03
Radio Maria
Innovation / Strategy
Section 3
Brand Typography
10
Brand Typography
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 3
Brand Typography
11
Brand Marque
Typography The only font
Characters
Weights
Radio Maria only uses one font for the brand system, “Objektiv MK2“, and three weights. This humanistic font provides a strong contrast to the otherwise rounded visual language.
ABCDEFGHIJKLMNOPQRST UVWXYZ
Objektiv Mk2 light weight
abcdefghijklmnopqrstuvwxyz
Objektiv MK2 Medium weight
Objektiv MK2 regular weight
Brand marque The brand marque can also be the name written in the brand typeface, however, careful attention should be given to the kerning. In addition, the medium weight should always be used.
Tag The only situation in the Radio Maria branding where full caps and the XBold weight of the dedicated font family should be used is when placing the typographic logo at the bottom of content.
IED Istituto Europeo di Design
RADIO MARIA
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 3
Brand Typography
12
Brand Typography
Titles Description
Details
Titles have to be powerful. For where the graphics feel friendly and soft, the titles should speak loudly.
20 pt
Details
Details
The line spacing should be set to be closer than the body text, and tighter leading is used to manntain fluidity in reading for the audience.
22 pt
Rules
Details
When designing the titles, choice of capitalization should follow gramatical rules of the language used, as well as a consideration for visual aesthetics.
24 pt
IED Istituto Europeo di Design
We don’t yell so do not use full caps
-50 kerning
24,5 pt spacing -50 kerning
27 pt spacing -50 kerning
When a line splits the leading should be nice and tight like this.
The most important thing about title capitalization is to be consistent.
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 3
Brand Typography
13
Brand Typography
Subheads Description
Details
Whist the titles follow more strict rules, 14 pt the subheads are intended to act as 16,8 pt a flexible point in designs allowing to -25 kerning add or remove contrast when needed.
Details
Details
Because the subheads can be used in three different weights it is important to remain flexible in the kerning. The line spacing should remain fairly tight.
16 pt
Rules
Details
When designing the titles, choice of capitalization should follow gramatical rules of the language used, as well as a consideration for visual aesthetics.
18 pt
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19,2 pt -25 kerning
21,6 pt -50 kerning
Subheading can use light, regular, and medium weights. This makes it very flexible when adjusting contrast.
Subheads can range from -25 kerning to -50 kerning.
The most important thing about subhead capitalization is to be consistent.
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 3
Brand Typography
14
Brand Typography
Body text Description
Details
It is important for the body text to flow smoothly from one line to the next. This can be achieved through greater line spacing for the smaller sized fonts and less kerning.
8 pt
Details
Details
The body text should have a little more breathing room than the title, because it would otherwise be difficult to maintain legibility.
10 pt
Rules
Details
No kerning should be used unless necessary. In addition, the line spacing should always remain above 1.6 em. The type should only be set in regular or medium if used with colors.
12 pt
IED Istituto Europeo di Design
11 pt spacing
13 pt spacing
15 pt spacing
The new Radio Maria offers a more approachable brand that invites potential listeners/consumers to engage with the content through an improved system of communication both visually and linguistically. The biggest difficulty of branding
religious content is engaging more diverse audiences who might not share the same beliefs. This is tackled by communicating to the audience that Radio Maria will not talk to you, but talk with you.
The new Radio Maria offers a more approachable brand that invites potential listeners/consumers to engage with the content through an improved system of communication both visually and linguistically. The biggest difficulty of branding religious content is engaging more diverse audiences who might not share the same beliefs.
The new Radio Maria offers a more approachable brand that invites potential listeners/consumers to engage with the content through an improved system of communication both visually and linguistically.
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 3
Brand Typography
15
Brand Typography
Colored body text Description
Details
Different rules apply for different color 8 pt combinations when it comes to setting 11 pt spacing the typography. Different contrasts have to be set differently to mantain reading comfort and legibility. In this case there is a level of flexibility achieved when creating the color combinations. However, to keep clarity in the typography, the medium font weight should be used to keep a clear level of contrast.
IED Istituto Europeo di Design
When using the dark blue pastel on top of the hot pink pastel, it is important to make the font weight medium. This provides the font with clearer legibility for the reader.
When using the beige pastel on top of the hot pink pastel, it is important to make the font weight medium. This provides the font with clearer legibility for the reader.
When using the dark blue pastel on top of the light blue pastel, it is important to make the font weight medium. This provides the font with clearer legibility for the reader.
When using the beige pastel on top of the light blue pastel, it is important to make the font weight medium. This provides the font with clearer legibility for the reader.
When using the hot pink pastel on top of the dark blue pastel, it is important to make the font weight medium. This provides the font with clearer legibility for the reader.
When using the beige pastel on top of the dark blue pastel, it is important to make the font weight medium. This provides the font with clearer legibility for the reader.
29/06/21
Brand Guidelines
s
04
Radio Maria
Innovation / Strategy
Section 4
Patterns & Graphics
16
Patterns & Graphics
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 4
Patterns & Graphics
17
Patterns & Graphics
System Moving stripes
Colour
Creative freedom
We use stripes to represent the notion that conversation is an activity that should flow from one side to another. Therefore, the stripes should never feel stiff or have sharp joints.
The simple shapes of the striped system allow for a variety of colors to be implemented depending on the purpose of the project. The default system makes use of the full brand colour palette.
The striped system also allows for full creative freedom of what is put inside. This can range from images to patterns.
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As long as it metains fluidity, direction and shape, modifications are applicable.
Flat Cap
Acceptable Usage
Rounded Cap
Acceptable Usage
Gradient
Acceptable Usage
Image/Pattern
Misusage
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 4
Patterns & Graphics
18
Patterns & Graphics
Application and composition Layouts The layouts on the right provide a set of examples on the possible applications of the identity system for printed materials. The lines used should in someway help communicate the fluidity of conversation and the new Radio Maria brand vision.
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 4
Patterns & Graphics
19
Patterns & Graphics
Graphics The graphic style The main graphic system for Radio Maria consists of using custom pop icons. These icons can range from hand drawn elements and effects to modified images. What matters most is the hand customized pop aesthetic created.
Rules Every project should have its own creative solutions. However, to keep brand consistancy, any pop icons drawn should have a hand drawn appeal, as if chalk or pastels were used. The strokes should mantain the brand identity defined thus far. The graphics should be colour treated to brand colours, and any hand drawn text should be used sparingly to avoid a childish visual language. All solutions should refrain from insulting the practice of religion.
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 4
Patterns & Graphics
20
Patterns & Graphics
Logo modifications Description The logo marque is specifically designed to be modified and manipulated. The large shape allows it to act as a canvas for many forms of manipulation and visual treatement. It is also possible to apply gradients and more onto the logo marque as long as it mantains visual coherence with the project and keeps a level of readability.
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 4
Patterns & Graphics
21
Patterns & Graphics
Animation When to animate
Details
For most digital platofrms, the lines can be animated as part of the visual system. Remember, they should alwyas be implying the notion of a conversation, even in their animations.
The animation shown on the right makes use of a short loop, that modifies the line weight of the text and the jitter.
Animating graphic elements
Details
It is also a possibility to animate any graphic icons as part of the communication. Many simple techniques can be used to bring an icon, text, or a graphic to life.
This animation makes use of hand drawn text animation and effects in a loop fashion to make it have a popping effect
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
s
05
Radio Maria
Innovation / Strategy
Section 5
Image Treatment
22
Image Treatment
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 5
Image Treatment
23
Image Treatment
Modifications Filters When applying any image treatment, it is important that the image has recognizability if it is an appropriation. The main styles used are colour matching and halftones. Colour matching requires the transformation of the chosen image to match the brand guidelines colour palette. Halftone is ismply applying a medium halftone effect over the subject in the image, and replacing the background with ana ppropriate colour.
Making it pop Now it is important to consider what graphics should be incorporated with the image chosen. Whether it is using the brand marque or the pop icons discussed earlier, this is a critical step to tie in the working identity system.
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Halftone
Make it pop
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 5
Image Treatment
24
Image Treatment
Thinking freely Appropriation When applying graphics, filters, and any obstructive effects over religious paintings and iconography, there comes a risk of creating offense to certain audiences. It is important to make the painting/image come to life with a purpose, rather than vandalism for the fun of it. Good appropriation does not break the brand communication, and has clear decision making behind it.
Application of the marque The samples to the right have some creative exmaples on how to apply of the logo marque to printed materials. Bringing to life the logo in such ways makes the brand more memorable to the audiences. Make use of the flexibility the simple shape has to offer.
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 5
Image Treatment
25
Image Treatment
logo & images Using the logo as a window The logo can be used as a basis for holding images. This technique should mainly be applied when using portrait images of guest speakers. It provides a fresh window to show the audience a little more character behind the speakers personality, as well as tie it in with the brand. It is okay to push the limit in which the character pops out of the frame to add more life to the communication..
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
s
06
Radio Maria
Innovation / Strategy
Section 6
Media Guidelines
26
Media Guidelines
IED Istituto Europeo di Design
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 6
Media Guidelines
27
Media Guidelines
Branding Logo marque The logo can be used as a basis for holding images. This technique should mainly be applied when using portrait images of guest speakers. It provides a fresh window to show the audience a little more character behind the speakers personality, as well as tie it in with the brand. It is okay to push the limit in which the character pops out of the frame to add more life to the communication.
Spotify
The spotify platform is now geared towards the contemporary viewer. Spotify has become a very popular platform for hosting content in the form of podcasts.
Instagram is the one of the world’s most popular platforms when it comes to sharing media. Radio Maria should gear the general content towards promoting their services, all while keeping it fun and engaging.
Facebook is great for sharing articles, videos, and keeping in touch with the older audiences. The general language on Facebook should be less youth focused. This means less pop icons and less appropriation of religion.
Radio Maria will use Spotify to share this form of content. On Spotify, not many graphic elements are often needed other than the logo
IED Istituto Europeo di Design
Good content should be prioritized over advertisements.
29/06/21
Brand Guidelines
Radio Maria
Innovation / Strategy
Section 6
Media Guidelines
28
Media Guidelines
Content Call to action Each social content sharing platform should make use of the occasional call to action, to inform newer audiences of the Radio stations podcast and other services.
Media The logo can be used as a basis for holding images. This technique should mainly be applied when using portrait images of guest speakers. It provides a fresh window to show the audience a little more character behind the speakers personality, as well as tie it in with the brand. It is okay to push the limit in which the character pops out of the frame to add more life to the communication..
IED Istituto Europeo di Design
29/06/21