2__ by Danijela Purgar

BASIC PRINCIPLES OF LAYOUT AND DESIGN. CORPORATE DESIGN MANUAL.

Sprache. Kultur. Deutschland.

Page 2 Basic principles

The essentials at a glance:

1. The logo characterises our image. It is used boldly and prominently. 2. Our corporate font is Goethe FF Clan. High-impact, selfconfident typography characterises our corporate design. Our alternative corporate font for on-screen applications is Verdana. 3. Our key corporate colour is Goethe Green. 4. Our visual language communicates precisely and to the point mood and subject matter. We employ powerful and expressive photography.

Goethe-Institut design and layout principles, April 2011

Page 3 Contents

IDENTITY.....04 LOGO AND SLOGAN.....07 TYPOGRAPHY.....22 COLOUR.....27 VISUAL LANGUAGE.....34 PRINT MEDIA.....40 ADVERTISEMENTS.....56 STATIONERY/FORMS.....60 EXHIBITION AND INFORMATION STANDS.....67 SIGNAGE.....71 JOINT VENTURES.....73 ELECTRONIC MEDIA/PRESENTATIONS.....80 PROMOTIONAL ARTICLES.....83 TEMPLATES.....88

Goethe-Institut design and layout principles, April 2011

Page 4

Goethe-Institut design and layout principles, April 2011

Page 5 Identity Basic principles

Positioning statement:

WHO WE ARE. The positioning statement explains the mission and the activities of the Goethe-Institut.

As the cultural institution of the Federal Republic of Germany, the Goethe-Institut promotes exchange as a means to forge links between cultures. The Goethe-Institut initiates and acts as an agency for a wide range of modern linguistic and cultural activities that reveal and illustrate the diversity and cosmopolitan attitudes of todayâ&#x20AC;&#x2122;s Germany. The Goethe-Institut is a dedicated player and a dependable partner, and is committed to excellence in the advancement of its cultural and sociopolitical mission.

Goethe-Institut design and layout principles, April 2011

Page 6 Identity Basic principles

The brand model

WHO WE ARE.

INITIATIVE: INQUISITIVE, DIVERSIFIED, EXCITING

Our brand model describes the identity of the Goethe-Institut. In this, it employs a combination of brand values and descriptive images. The positioning statement and the brand model are brand management tools. Their origins lie in the organisation itself: the opinions and thoughts of the people who work at the Goethe-Institut were discussed in the course of workshops, questionnaires and brand conferences, and have been subsequently integrated into these identitydetermining tools.

CULTURALLY COMMITTED: CONNECTIVE, HONEST, COSMOPOLITAN

DEPENDABLE: EFFICIENT, AMBITIOUS, PROFICIENT

Goethe-Institut design and layout principles, April 2011

Page 7

Goethe-Institut design and layout principles, April 2011

Page 8 Logo and slogan Logo

OUR LOGO. The logo combines a graphic element and a word mark – either vertically or horizontally. The graphic element is an abstract derivation from the initials of the Goethe-Institut. Here, five concentric, broken circles depict a capital letter ‘G’ and the dot of the letter ‘i’ is located in the open segment. The circular form is reminiscent of planet Earth, and the five circles symbolise the five continents. The graphic element has been employed by the Goethe-Institut for many years: it was developed in the 1960s, shortly after the foundation of the Goethe-Institut. The current word mark was designed in 2011 and is based on the corporate font ‘Goethe FF Clan’. As opposed to the usual syntax employed in copy, ‘Goethe-Institut’, the word mark, does not feature the hyphen. The name of the institute must not be translated in either the word mark or in copy. We always employ original logo files, and the logo may not be altered in any way. The logo is always set in a single colour.

Goethe-Institut design and layout principles, April 2011

Horizontal logo

Vertical logo (default)

Page 9 Logo and slogan Open logo

Open logo

THE PRINCIPLE OF The Open Logo The logo is the most important element of our corporate design and clearly identifies the originator. We are proud of what we do, and that is why our logo is displayed large and prominently. We can also open the elements of our logo. In this way, we establish a communicative framework for the content displayed. The graphic element is set in the upper-right corner and serves as a beacon, while the communicative content is terminated by the word mark displayed at the bottom. The space in the middle is reserved for the content. A coherent concept that lends us an unmistakable and characteristic visual identity.

Goethe-Institut design and layout principles, April 2011

Sprache. Kultur. Deutschland.

Page 10 Logo and slogan Open logo

Open logo

Composite logo

Open Logo We can employ the logo in either the open form or as a composite entity. The open form is used by preference: graphic element at the top right, word mark at the bottom right. This establishes the desired communicative framework. The composite version is employed in the following cases: – If the lower part of the medium is obscured or attracts less attention: e.g. on pylons or websites – For joint ventures and on giveaways – If we require a large logo and want to make best possible use of the available space: wall signs, moving images, etc. The type of media determines whether the logo is placed at the left, right or centre: – Print: logo at the right – Website: logo at the left – Architecture, signage, exhibitions: centred or at the right – For moving images, promotional articles and window lettering, the composite logo may be placed in any position

Goethe-Institut design and layout principles, April 2011

Sprache. Kultur. Deutschland.

X Page 11

Standard offset

Logo Offset

X X = circle diameter = 0.37 × logo width

Offset between the logo and format edges The standard offset corresponds to the diameter of the small circle in the graphic element. The precise positioning of the logo is determined by the offset. In this case, the slogan is considered to be a part of the word mark. High-visibility media – such as wall signs or flags – require the largest possible logo size. This ensures that they can be recognised at extreme distances. Maximum logo size can be achieved by reducing the standard offset to 70%.

Sprache. Kultur. Deutschland.

Reduced offset 0.7 X X = circle height = 0.37 × logo width

Goethe-Institut design and layout principles, April 2011

0.7 X

Sprache. Kultur. Deutschland.

Page 12

Example of logo placement

Logo Example of logo placement

Print, portrait format: Standard offset

Print, landscape format: Standard offset

Website: Left, reduced offset if required

PowerPoint: Standard offset

Promotional articles: Centred

www.goethe.de

Presentation

Presentation Presentation title title title

Advertisements: Standard offset

Goethe-Institut design and layout principles, April 2011

Pylon: Standard offset

Wall sign: Reduced offset, centred

Flag: Reduced offset, centred

Exhibition/information stands: Reduced offset, centred

Compact disc: Centred

Page 13 Logo Size

Format

Logo size The logo size depends on the format. Sizes have been specified for the most frequently used DIN formats. Other formats (e.g. US letter) use the logo size of the most similar DIN format. If the format is larger than DIN A2, the logo format from DIN A4 is scaled up proportionally. The sizes shown in the table apply for print media; the proportions are different for correspondence and signage.

Graphic element diameter

Minimum size 8 mm DIN A6, portrait/landscape 28 mm DIN long, portrait/landscape 28 mm DIN A5, portrait/landscape 31 mm DIN A4/letter, portrait/landscape 34 mm DIN A3, portrait/landscape 48 mm DIN A2, portrait/landscape 67 mm Minimum size, screen 50 px

The minimum logo size is universal; the logo may not be used in smaller sizes. The slogan is omitted if the logo width is less than 28 mm.

Sprache. Kultur. Deutschland.

Minimum size without slogan Graphic element diameter

Graphic element diameter

Goethe-Institut design and layout principles, April 2011

Minimum size with slogan

Page 14 Logo and slogan Logo files

Vertical logo

The right logo file for every purpose: The logo is available in a choice of four colours: white, Goethe Green, black and Goethe Grey. We usually set the white logo on dark backgrounds. This may be a coloured area or a picture. The background must always provide optimum contrast for the logo. If the background colour in a picture is incompatible, â&#x20AC;&#x2030;e.g. too light or too busy, this can be remedied by retouching. The green and grey logo versions are predominantly used on white backgrounds, e.g. on stationery and notepads and when partners are involved (joint ventures, etc.). The black version replaces the colour version when the use of colour is not possible or not required, â&#x20AC;&#x2030;e.g. for faxes or memos. The graphic element and the word mark are always displayed in the same colour. In exceptional cases, the word mark and the graphic element may be used alone. Template files with logos can be downloaded from the Goethe extranet.

Goethe-Institut design and layout principles, April 2011

GI_Logo_vertical_white.eps

GI_Logo_vertical_green.eps

GI_Logo_vertical_black.eps

GI_Logo_vertical_grey.eps

GI_Logo_vertical_white.png

GI_Logo_vertical_green.png

GI_Logo_vertical_black.png

GI_Logo_vertical_grey.png

GI_Logo_horizontal_white.eps

GI_Logo_horizontal_green.eps

GI_Logo_horizontal_black.eps

GI_Logo_horizontal_grey.eps

GI_Logo_horizontal_white.png

GI_Logo_horizontal_green.png

GI_Logo_horizontal_black.png

GI_Logo_horizontal_grey.png

Horizontal logo

Page 15 Logo and slogan Dos and donâ&#x20AC;&#x2122;ts

No 3-D effects

No drop shadows

No gradients

No indistinct contrasts

No distortion

No rotation

No additional boxes

No busy backgrounds

Dos and donâ&#x20AC;&#x2122;ts The logo must always be used in its original and unaltered form: no 3-D effects, drop shadows, gradients, distortions, etc. We do not use any additional boxes, graphic elements or busy backgrounds.

Goethe-Institut design and layout principles, April 2011

Page 16

Our slogan

Sprache. Kultur. Deutschland.

What we do. Our slogan explains what we do in a nutshell in three simple words. The slogan is always written in German and is never translated.

Position and size of the slogan

Logo and slogan Slogan

Position The slogan is always located below the word mark. It is set in mixed-type Goethe FF Clan Regular, and its position and size are precisely specified (shown on the right).

Use The slogan is always set in conjunction with the logo. Exceptions: it is not displayed together with the logo when legibility is not guaranteed. – The slogan is omitted if the logo width is less than 28 mm. – The logo is also displayed without the slogan when partners are involved (e.g. joint ventures). – The slogan is only used to a limited extent on promotional articles. It may be employed as a standalone element without any direct relationship to the word mark.

X = cap height of word mark = 0.2 × logo width

Sprache. Kultur. Deutschland.

Logo width = slogan width

Special case Max Mueller Bhavan

X = cap height of word mark = 0.2 × logo width X

Goethe-Institut design and layout principles, April 2011

Page 17 Logo Special logo variations

Files

Special logo variations Examination centres licensed by the Goethe-Institut are provided with their own version of the composite logo derived from the Goethe-Institut logo. Goethe centres also use their own composite logo with the suffix ‘Kooperationspartner’. The suffix must not be translated. The logo for Goethe-Instituts in India bears the suffix ‘Max Mueller Bhavan’.

Sprachkurskooperationspartner

Goethe-Zentrum

Kooperationspartner

akkreditiert

Prüfungszentrum Goethe-Institut

Abteilung Kultur und Bildung Generalkonsulat der Bundesrepublik Deutschland Shanghai

GI_Prüfungszentrum.eps

GI_Zentrum.eps

GI_Akkreditiert.eps

GI_AKUB.eps

GI_Prüfungszentrum.png

GI_Zentrum.png

GI_Akkreditiert.png

GI_AKUB.png

GI_MMB_vertical.eps

GI_MMB_horizontal.eps

GI_VK_vertical.eps

GI_VK_horizontal.eps

GI_MMB_vertical.png

GI_MMB_horizontal.png

GI_VK_vertical.png

GI_VK_horizontal.png

Names of cities and countries are no longer displayed with the logo. The only integrative addition to the logo is the slogan. Template files with special logo variations can be downloaded from the Goethe extranet.

Goethe-Institut design and layout principles, April 2011

Page 18 Logo National-language suffix

Use with the logo

Use with stationery/templates for internal use:

National-language suffix In many countries, a suffix is added to the basic Goethe-Institut name. For example, in Sao Paulo, the full name is: ‘Goethe-Institut Centro Cultural BrasilAlemanha’.

Goethe-Institut e.V. Centro Cultural Brasil-Alemanha . 123, Any Street Anothertown AN123 Y45

Goethe-Institut e.V. Centro

Organisation X Frank X. Sample: 123, Another Street Cultural Brasil-Alemanha Anothertown AN123 Y45 Exampleland

Beispielorganisation Bernd Beispiel Beispielstraße 123 12345 Beispielstadt Beispielland

The name suffix is integrated in close proximity to the logo and in the addresser field, but is never considered to be a part of the logo.

. Beispielstraße 123 . 12345 Beispielstadt

12.12.2012 Subject:

Ladies and Gentlemen,

Centro Cultural Brasil-Alemanha

Olorrum si con core volectam, sit qui aturi voluptatis res voluptam, estis estrum fugia corro et exerund igendae. Endant fugitio sapici blabora simaior eculparumqui volorepuda idunt ipidendae nihil int omnitasperum int. Nam, volessi tinciisit ulparci delesent, et, quidus aditatur? Quissit atiamus ent. Nullaut parchic aborerum volorro quamet lautempossi blaceptionem soluptatati con est venihitis quatur? Icaborerum natem reriber rumquam erist que omnimol uptibus, es diorest, et magnatur sunt eatum quam nonsed estistorum doluptate solorit qui dolor alitatet, qui audi nihit, sequam event il endiscietur auditas picipsunt hilis arum ut pratam qui as. us aut atemqui incto volor as dolesto remquo temqui des nos etur, serferunt facerferum ulluptaquid magnis aud quae nam aut qui con con res vollibusdae ra verit aligendit fugiaer iossequibus rem experiorepe eicimus amusapienis cus doloreh.

Yours sincerely,

Goethe-Institut e. V. Centro Cultural Brasil-Alemanha 123, Any Street Anytown A123 N45 PO box 190419 Anytown A123 N45 Joe Bloggs Goethe-Institut e. V. Department X of department CentroHead Cultural T. +49 (0)89 159 210 F. +49 (0)89 1592 1450 Brasil-Alemanha bloggs@goethe.de 123 Any Street Account details A Account no. 12 345 678 Anytown A123 Sort code 000 000 N45 00 IBAN PO boxDE123456789012345678 190419 90 AccountA123 details B N45 Anytown Account no. 12 345 678 Sort code 000 000 00 IBAN DE123456789012345678 90

Max Mustermann Account details C Musterabteilung Account no. 12 345 678 Sort code 000 000 00 Musterfunktion IBAN T +49 DE12345678901234567890 89 1 59 21-0 VAT ID no. F +49 DE 89129516430 1 59 21-450 mustermann@goethe.de Bankverbindung A Konto www.goethe.de 12 345 678 BLZ 000 000 00 IBAN DE123456789012345678 90 Bankverbindung B Konto 12 345 678 BLZ 000 000 00 IBAN DE123456789012345678 90 Bankverbindung C Konto 12 345 678 BLZ 000 000 00 IBAN DE12345678901234567890

Goethe-Institut design and layout principles, April 2011

USt-ID-Nr. DE 129516430

Page 19 Logo National-language suffix

Use with the logo Minimum distance 1.5x

National-language suffix As a suffix to the logo, the font size is determined by the cap height of the Goethe-Institut logo. It is 1/2x. In terms of vertical alignment, the suffix should not extend beyond the width of the logo. The minimum distance between the Goethe-Institut logo and the nationallanguage suffix is 1.5x on all sides.

Minimum distance 1.5x

Centro Cultural Brasil-Alemanha

1/2x

Minimum distance 1.5x

Goethe-Institut design and layout principles, April 2011

Minimum distance 1.5x

Page 20 Logo National-language suffix

Use in close proximity to the logo, for example: brochure cover

National-language suffix If the suffix is placed close to the logo, a minimum distance of 1.5x must be maintained on all sides. If insufficient space is available, the suffix may be set on two lines.

Lorem ipsum Dolor sed Numquamis

Centro Cultural Brasil-Alemanha

Minimum distance 1.5x

Goethe-Institut design and layout principles, April 2011

Font size table for NLS Format

Font size

DIN A6

7.5 pt

DIN long

7.5 pt

DIN A5

8.3 pt

DIN A4

9 pt

Page 21 Logo National-language suffix

Use with stationery/templates for internal use:

National-language suffix

Joe Bloggs

Example: letter paper and business card. In this case, the suffix is integrated into the body copy.

Function Goethe-Institut e. V. Centro Cultural Brasil-Alemanha 13, Any Street Anytown A123 N45 Goethe-Institut e.V. Centro Cultural Brasil-Alemanha . 123, Any Street Anytown AN123 Y45

Goethe-Institut e.V. Centro

Organisation X Frank X. Sample: 123, Another Street Cultural Brasil-Alemanha Anothertown AN123 Y45 Exampleland

Beispielorganisation Bernd Beispiel Beispielstraße 123 12345 Beispielstadt Beispielland

. Beispielstraße 123 . 12345 Beispielstadt

12.12.2012 Subject:

Ladies and Gentlemen, Olorrum si con core volectam, sit qui aturi voluptatis res voluptam, estis estrum fugia corro et exerund igendae. Endant fugitio sapici blabora simaior eculparumqui volorepuda idunt ipidendae nihil int omnitasperum int. Nam, volessi tinciisit ulparci delesent, et, quidus aditatur? Quissit atiamus ent. Nullaut parchic aborerum volorro quamet lautempossi blaceptionem soluptatati con est venihitis quatur? Icaborerum natem reriber rumquam erist que omnimol uptibus, es diorest, et magnatur sunt eatum quam nonsed estistorum doluptate solorit qui dolor alitatet, qui audi nihit, sequam event il endiscietur auditas picipsunt hilis arum ut pratam qui as. us aut atemqui incto volor as dolesto remquo temqui des nos etur, serferunt facerferum ulluptaquid magnis aud quae nam aut qui con con res vollibusdae ra verit aligendit fugiaer iossequibus rem experiorepe eicimus amusapienis cus doloreh.

Yours sincerely,

Tel.: +49 (0)123 456 788 Fax: +49 (0)123 456 789 Mobile: +49 (0)123 456 789 joe.bloggs@goethe.de www.goethe.de

Goethe-Institut e. V. Centro Cultural Brasil-Alemanha 123, Any Street Anothertown AN123 Y45 PO box 190419 Anothertown AN123 Y45 Joe Bloggs Goethe-Institut e. V. Department X of department CentroHead Cultural T. +49 (0)89 159 210 F. +49 (0)89 1592 1450 Brasil-Alemanha bloggs@goethe.de 123, Any Street Account details A Account no. 12 345 678 Anothertown AN123 Y45 Sort code 000 000 00 IBAN PO boxDE123456789012345678 190419 90 Account details B Anothertown AN123 Y45 Account no. 12 345 678 Sort code 000 000 00 IBAN

DE123456789012345678 90 Max Mustermann Account details C Musterabteilung Account no. 12 345 678 Sort code 000 000 00 Musterfunktion IBAN T +49 DE12345678901234567890 89 1 59 21-0 VAT ID no. F +49 DE 89129516430 1 59 21-450 mustermann@goethe.de

Bankverbindung A Konto www.goethe.de 12 345 678 BLZ 000 000 00 IBAN DE123456789012345678 90 Bankverbindung B Konto 12 345 678 BLZ 000 000 00 IBAN DE123456789012345678 90

Goethe-Institut design and layout principles, April 2011

Bankverbindung C Konto 12 345 678 BLZ 000 000 00 IBAN DE12345678901234567890

Page 22

Goethe-Institut design and layout principles, April 2011

Page 23 Typography Corporate font

Corporate font Our corporate font is Goethe FF Clan. We employ the font styles Bold and Regular. Both font styles offer complete character sets for the CE language region (throughout Europe), as well as Greek and Cyrillic alphabets.

Abc

Goethe FF Clan Bold abcdefghijklmnopqrstuvw xyz1234567890!?&%,.

Abc

Goethe FF Clan Regular abcdefghijklmnopqrstuvw xyz1234567890!?&%,.

Goethe-Institut design and layout principles, April 2011

Page 24 Typography Alternative font

Alternative font, Verdana The system font Verdana is used for all editable text on the Internet, in email correspondence and in PowerPoint presentations. A further exception: only a few European fonts feature Asian and Arabic characters; Goethe FF Clan is not one of them. For these regions, we recommend the use of Nimbus Sans, as this font covers all alphabets.

Abc

Verdana Bold abcdefghijklmnopqrstuvw xyz1234567890!?&%,.

Abc

Verdana Regular abcdefghijklmnopqrstuvw xyz1234567890!?&%,.

Goethe-Institut design and layout principles, April 2011

Page 25 Typography Headlines

Titles, headlines, subheadlines

Headlines Clear specifications for the style of headlines make them unique and eyecatching. This establishes them as a typographic recognition factor for the Goethe-Institut. All headlines are set in Goethe FF Clan Bold. The characters are set exclusively in caps, the line spacing is compressed (font size = line spacing), and the text is left-justified. Headlines are always set in large type, particularly when employed on covers (guideline: the width of the text block must extend over at least half of the format width). Individual elements of headlines may be emphasised with rich colours if desired. If a headline is unable to contain all the information, additional information may be provided in a subheadline. The type for subheadlines is noticeably smaller and comes directly below the headline after one blank line. The formatting of the blank line is identical to that of the subheadline. Subheadlines are also set in bold caps, compressed and left-justified.

Goethe-Institut design and layout principles, April 2011

EXAMPLE OF A LONGER HEADLINE EXAMPLE OF A LONGER SUBHEADLINE

Headlines: – Goethe FF Clan Bold – Caps, multi-line, left-justified – Large font – guideline: Text block width > half format width – Line spacing compressed: Line spacing = font size

Subheadlines: – Goethe FF Clan Bold – Caps, multi-line, left-justified – Large font – guideline: Text block width > half format width – Line spacing compressed: Line spacing = font size

Page 26 Typography Intermediate headlines and body copy

Copy

Intermediate headlines As in the case of headlines, intermediate headlines are also set in Goethe FF Clan Bold. The characters are set exclusively in caps, the line spacing is compressed (font size = line spacing), and the text is left-justified. The font size corresponds to the line spacing of the body copy. This also allows the anchoring of intermediate headlines to the baseline grid.

Body copy Body copy should be easy and comfortable to read. It is set in mixed-type Goethe FF Clan Regular as left-justified ragged text. Classical font sizes for printed matter: – Intermediate headline: FS 12 pt/LS 12 pt – Body copy: FS 8.5 pt/LS 12 pt In editorial media, the integrated emphasis in body copy gains a particular significance when set in italics. Italic styles may be used to a reasonable extent in editorial media.

Goethe-Institut design and layout principles, April 2011

EXample of an intermediate headline Body copy, me quius stra, no. Mentis. mo cem, cre, nostra sus omperis fuis ina, vive, senterfectus audeferracie tentiam erit. Serisquo erbi senatiam in restrum sena pere terfina timuntem est Catuam efacess erfendicipio co escrius, me conumente, que et, quemper esciptemquem milin tus popublissil vid pore num, coneriorum meniuro auctam dii Ebatant, qui ponsultori eo, sus inte mus et Sprache. Kultur. Deutschland.

Intermediate headlines: – Goethe FF Clan Bold – Caps, left-justified – Line spacing compressed: Line spacing = font size – Font size = body copy line spacing Body copy: – Goethe FF Clan Regular – Mixed type, left-justified

Page 27

Goethe-Institut design and layout principles, April 2011

Page 28 Colour Corporate colour

Use of the corporate colour Our key corporate colour is Goethe Green. This fresh, precisely defined shade of green indicates that this is the Goethe-Institut speaking. The dominance of the brand colour in use differs depending on whether it is being used inthe context of linguistic or cultural activities.

Goethe Green (brand colour) Coated paper

Pantone 376 C

CMYK (IsoCV 2) 45/0/100/0

Uncoated paper

Pantone 382 U

CMYK (IsoUncoated) 45/0/100/0

Screen

sRGB: 160/200/20

Architecture

NCS S 1075 – G40Y 1

Lettering

In-house film2

General reference colour Pantone 376 C

To 1: RAL 6018 may be used in exceptional cases. To 2: Avery 900 Super Cast Pantone 368 C may be used in exceptional cases. Goethe-Institut design and layout principles, April 2011

Page 29 Colour Layout colours

Goethe Violet

Goethe Dark Green

Goethe Orange

Pantone 242 C

Pantone 5747 C

Pantone 7578 C

Additional layout colours

CMYK (IsoCV 2) 35/100/0/35

CMYK(IsoCV 2) 50/25/100/75

CMYK(IsoCV 2) 0/70/100/0

sRGB 130/5/95

sRGB 55/65/5

sRGB 235/100/0

There are eight further layout colours in addition to Goethe Green. This bright colour spectrum particularly expresses the values of cosmopolitanism, diversity and excitement inherent in our brand model and translates them into elements of our corporate design.

NCS S 3055 – R30B

NCS S 6530 – G50Y

NCS S 2070 – Y50R

Four-colour printing, Pantone, RGB colours and NCS values: the most important colour values are predefined. Pantone shades are to be used as a reference when using other colour systems.

Goethe Beige

Goethe Light Blue

Goethe Dark Blue

Pantone 4525 C

Pantone 2915 C

Pantone 2955 C

CMYK (IsoCV 2) 10/10/45/15

CMYK(IsoCV 2) 60/0/0/0

CMYK(IsoCV 2) 100/53/0/53

sRGB 200/185/135

sRGB 90/200/245

sRGB 0/57/105

NCS S 3020 – Y

NCS S 1050 – B

NCS S 5540 – R90B

Goethe Brown

Goethe Grey

Pantone 4625 C

Pantone 430 C

CMYK (IsoCV 2) 32/77/95/71

CMYK(IsoCV 2) 15/0/0/60

sRGB 80/35/0

sRGB 120/130/135

NCS S 7020 – Y60R

NCS S 4005 – B20G

Goethe-Institut design and layout principles, April 2011

Page 30

The use of colour in media for linguistic and cultural activities

Colour Use

Linguistic and cultural activities differ in content. This is why we employ the same colour palette, but use the colours in different ways. Goethe Green is the recognition factor for media relating to linguistic activities, while communication measures relating to cultural activities may use any colours from the predefined spectrum. On the whole, we differentiate the use of colour in layouts for four different areas: – Brand/institute: Goethe Green clearly predominates.

We use a large proportion of brand colour – the brand colour is mandatory.

Brand/institute (e.g. pylons)

Linguistic activities (e.g. brochures)

LANGUAGE COURSES LEARNING GERMAN IS FUN

– Linguistic activities: Goethe Green indicates every communicative measure. No other colour may occupy more space than Goethe Green. – Linguistic/cultural activities, mixed: The entire palette of specified colours may be used as desired. Discreet green elements should create a connection to the brand. – Cultural activities: The entire palette of specified colours may be used as desired. The brand colour is optional, not mandatory. We welcome the use of format-filling image material.

We use the layout colours – the brand colour is optional.

Language/culture, mixed (e.g. yearbook)

GERMAN LITERATURE IN ITALY

Cultural activities (e.g. exhibition flyers)

Culture prOgramme LONDON September to April 2011

September to April 2011

Sprache. Kultur. Deutschland.

Goethe-Institut design and layout principles, April 2011

Sprache. Kultur. Deutschland.

Page 31

Brand environment

Colour Brand environment

Our key corporate colour is green. This is why Goethe Green is the most important colour when the GoetheInstitut appears as an umbrella brand. No other colour may occupy more space than the brand colour. Brand media may be set completely in Goethe Green. The green may be livened up by colour highlights, but must remain the clearly dominant colour. Marketing concepts often comprise several individual components. In such cases, we consider them to be one single composite medium and employ the colour system appropriately for this medium. This can be clearly

Wall sign

Goethe-Institut design and layout principles, April 2011

Pylon

Greetings card

seen in the case of several promotional articles that are considered to be a single medium: at least one article is finished in green, and others may be finished in any of the other layout colours. This ensures that no other layout colour is used more prominently than Goethe Green. Further examples of marketing concepts comprising several individual components: – Exhibition stand – the exhibition stand has one dominant green component, but not all components of the exhibition stand must be in green. – Signage. – PowerPoint presentations, etc.

Individual objects form a marketing concept

Page 32

Linguistic activities

Colour Linguistic activities

The objective here is to create a recall factor for our customers: Layout and design is executed distinctively in Goethe Green. We also use the layout colours. Goethe Green is the colour signifying the brand and is therefore always the predominant colour – no other colour may occupy more space than the brand colour.

For maximum branding effect – e.g. in classical marketing media – the entire background canvas is filled with Goethe Green.

All media layouts published in connection with linguistic activities feature at least one green element. For example, the cover headline may be set in green when formatfilling images are employed – this would be the minimum amount of Goethe Green required to ensure that the identification effect of the brand colour is maintained. If the brand green is used in a restrained manner, all other layout colours must be used in a subtler manner or omitted completely.

Brand colour, alone

Brand colour and layout colour

Sprachkurse

Deutsch lernen macht SpaSS

Minimum use of the brand colour

Sprachkurse Deutsch lernen macht SpaSS

Sprache. Kultur. Deutschland.

Goethe-Institut design and layout principles, April 2011

Sprache. Kultur. Deutschland.

Cultural activities

Page 33

The colour world must always hit the right note. Goethe Green is the recognition factor for media relating to linguistic activities, while communication measures relating to cultural activities may use any colours from the predefined spectrum. The cultural activities of the Goethe-Institut are characterised by diversity: one project is charged with vitality and is loud and bright, whereas another occasion may be more contemplative, quiet and sober. At the same time, the Goethe-Institut also takes the stage at official occasions. We welcome the use of image material here. We can liven up the title line with a colour. If no appropriate, high-quality image material is available, we employ backgrounds in a single colour that may be livened up with a monochrome image (please refer to the Visual Language section). Additional colours that harmonise with the colour spectrum may be employed if the colour required for particular projects is not available in the predefined spectrum.

Colour Cultural activities

Picture without colour

One or more lines of title in colour

Single colour

With monochrome picture

Kulturprogramm LONDON September bis Januar 2011

Kunst Weltweit

Kunst Weltweit Sprache. Kultur. Deutschland.

Goethe-Institut design and layout principles, April 2011

Kulturprogramm LONDON September bis Januar 2011

With monochrome picture

Gedenkst채tte Berlin

Deutsche Literatur in Italien September bis Januar 2011

Sprache. Kultur. Deutschland.

Page 34

Goethe-Institut design and layout principles, April 2011

Page 35

Visual language

Visual language General

Linguistic and cultural activities – at the Goethe-Institut, these enhance and complement one another under one roof. The different areas of activity have different photographic demands – from subject matter to pictorial style. Linguistic and cultural activities, therefore, employ different visual vocabularies. In the case of linguistic activities, the appearance is stringent and commercial, while for cultural activities the focus is on creativity and diversity. As an alternative to classical photography, we may also employ colour-filled spaces and monochrome images. We use this option for linguistic and cultural activities.

LINGUISTIC ACTIVITIES The most important subject matter here is the depiction of people taking part in language courses. We show them at the Goethe-Institut, for instance with teachers during courses, in the library, in seminars and conferences, or in more urban settings, in group situations, e. g. in cafés, on public transport, in the cultural environment or against a backdrop of interesting architecture. The language course students are shown learning, actively taking part in the courses, in discussions and working in groups and pairs. We see them in conversation, pouring over books, writing or in situations with modern media – for example, using computers. Eye contact with the viewer generates

Goethe-Institut design and layout principles, April 2011

close empathy and trust. The atmosphere is happy, friendly and informal. The essential aspect is the mutual experience – while learning and in their free time. Language students at the Goethe-Institut are an ethnic mix and embrace a wide range of ages. One important focus is on teenagers and young adults. We particularly welcome authentic photography shot in the classrooms of a Goethe-Institut. Viewers are given some hints as to the location by means of promotional articles placed as if by chance: pencils, jotters, mugs, etc. In fact, the mere presence of our brand colour can be sufficient to create the required connection.

Cultural institute Our cultural activities cover a wide range of content: dance, theatre, art, music, film, exhibitions and much more. The choice of subject matter is equally diverse: portraits, photojournalism, works, people, architecture, etc. The subjects are appropriate to the respective projects.

Monochrome image material There is a free choice of subject matter. We use silhouetted subjects in most cases, and the images employed frequently illustrate some aspect of the title text.

Page 36 Visual language Linguistic activities

Goethe-Institut design and layout principles, April 2011

Visual language, linguistic activities The characteristic visual language for linguistic activities is strictly defined. The uniform and consistent visual style of photographs is defined by the following criteria: light backgrounds, extreme differences in depth of focus, high-contrast compositions, and unusual perspectives and angles. Close-up, out-of-focus objects combined

with distant objects with extreme depth of focus create a feeling of being very close to the subject â&#x20AC;&#x201C; a feeling of being part of the scene. The bright and happy colour spectrum of the Goethe-Institut is reiterated in selected highlights such as clothing or books. The background offers a large proportion of white to provide contrast. The focus in the field of linguistic activities is on subjects relating to language education.

Page 37 Visual language Cultural activities

Goethe-Institut design and layout principles, April 2011

Visual language, cultural activities The visual language for cultural topics is left open to interpretation to ensure a fertile foundation for editorial activities. The sole condition: the photography is authentic and of high quality. Photography for the field of culture must capture and communicate the spirit of the respective project. Its character may

therefore differ widely. We choose extremely expressive details, abstain from using boring snapshots and use professional image processing and retouching options. Our creativity creates a platform for the message.

Page 38

Monochrome image material

Visual language Monochrome image material

High-quality photography of appropriate subjects is not always available. The alternatives: colour-filled spaces; simple, monochrome background images are also welcome. An extra benefit: some subjects appear dull or worn out in classical colour photography, but can gain a whole new lease of life when converted into monochrome background illustrations.

Goethe-Institut design and layout principles, April 2011

This method can also be used to enhance low-cost or qualitatively poor images. The colour fill of the canvas and the monochrome background image are oriented on our colour system (refer to the Colour section). A list of recommended combinations is shown on the following page.

Page 39 Visual language Monochrome image material

A short digression: How to create a monochrome background image. A simple way to work with colour-filled canvasses and monochrome image material: we import a greyscale image to an InDesign file and colourise it in the layout program. If required, the same effect is possible with other image-processing software â&#x20AC;&#x201C; e.g. Adobe Photoshop.â&#x20AC;&#x2030;

1. Original material

Recommended colour combinations

Goethe-Institut design and layout principles, April 2011

2. Convert to greyscale image

3. Remove undesirable portions, and increase contrast if required. Save file in JPEG or TIFF format

Some colour combinations do not harmonise ideally. We choose combinations that are pleasing to the eye or are appropriate to the topic. In many cases, the use of one single colour makes it possible to use images that would otherwise have been unsuitable for the GoetheInstitut.

4. Greyscale image imported to InDesign

5. Final colourised image

Page 40

Goethe-Institut design and layout principles, April 2011

Page 41 Print products Media definitions

An overview of defined formats The formats shown here have been successfully used in practice and can be downloaded as template files in InDesign format.

DIN A4

Goethe-Institut design and layout principles, April 2011

Letter format

DIN A5

DIN long

DIN A6

Page 42 Print products Layout principle

LAYOUT PRINCIPLE Our print products are all constructed on the basis of a common layout principle. At the same time, the basic concept of the communicative framework derived from the open logo is transferred to the layout. This in turn creates a characteristic and unmistakable visual identity for our print products. The use of this distinctive layout principle permits the derivation of numerous other applications (e.g. posters and ads) without the need for specific guidelines.â&#x20AC;&#x2030;

Goethe-Institut design and layout principles, April 2011

Page 43 Print products Layout grid

ONE GRID FOR ALL As a matter of principle, all applications use the same layout grid. This defines the layout and the use of typography for both the covers and the inside pages of multi-page publications.

Goethe-Institut design and layout principles, April 2011

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

Page 44

Headlines and subheadlines

Print products Use of typography

This is a headline. Prominent and in caps.

USE OF TYPOGRAPHY A clearly defined system of different font styles and weightings regulates the use of fonts in our typography. Regardless of whether it concerns brochures, headlines, subheadlines, chapter headers, introductory headlines or intermediate headlines, these are all set in caps and compressed (font size = line spacing) in Goethe FF Clan Bold. Body copy is set in Goethe FF Clan Regular. The rule here is: line spacing = font size Ă&#x2014; 1.4. These values are maintained for applications with a specified baseline grid. Marginalia and captions are set in Goethe FF Clan Bold. The rule here is: line spacing = font size Ă&#x2014; 1.2. Font sizes and font colours may be freely selected.

Goethe-Institut design and layout principles, April 2011

A SUBHEADLINE MAY BE PLACED HERE. Introductory copy and chapter headers

INTRODUCTORY COPY INTRODUCES READERS TO A TOPIC AND LEADS THEM INTO THE CONTENT IN A CONCISE AND PRECISE MANNER. ITS FORMAL CRITERIA ARE BASED ON THE GUIDELINES FOR HEADLINE USE. Intermediate headlines and body copy

This is an Intermediate Headline. Nam rest aut volupta aliquo et quo ipsam, officaerunt ad eserit estissi moloratate con porae sam etur? Gendebis quibusam es demporis dolupta temperu ndiates consequaes qui cus estiis que atecus asperum quidebit ut qui velia nus, namus, sundi officias ilit pelia aces dolorrum sunt lantia dolupta alis aut omnime pressimpore aspelli quates modis et. Esequatiis nis qui id minuscipsa ipsum num quibus core volupt ur rem atemolo ribuscia ipsus molo venis sunt ut aut vere.la ne sectur, non coreper Chillam lab il est, culparum del inctus alibus, simenimus, quos quiditis exceruptas modi cum ex eos restio in estecabo. Cation nonse et moluptaercit porem

Marginalia pora nam quaspedi nihilissit que as doluptas squias eaque volum. Nihil et eturi consenet offic torepel itatquas aut minis. Doloribust dellam as dollitiae venia veri utate nem essi blam ipsum etur? Qui ut eum et occulparum rerae ellaut doluptatur?

Qui vel molore qui re aliti Vvidel inctemolut imus acerit aut praepel incia voluptat videssumvenitiost volupti deles dolupic atiunt que am sim non et liquosa ndiore eumque vero magnistrum quis maximpedis et assitiandae occum ilita nobitas natur apid molorpo rpossimos re prati autem lacereped et fugiatur aut repelles debis a sit velisquas estrum volupta

Page 45 Print products Covers

COVERS We take a liberal approach for the layout of covers. This may be a fullpage, expressive picture or a rich, colour-filled canvas. A key element on covers is the prominently placed headline that lends our print products their own special character and originality. Template files in InDesign format can be downloaded from the Goethe extranet.

Goethe-Institut design and layout principles, April 2011

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

Page 46 Print products Back covers

BACK COVERS Back covers display our originator details. These are written and placed as shown on the right. Here, the address block is built up from bottom to top. This means that the last line is always located at the bottom end of the type space. The standard font size may be increased, particularly in the case of larger formats. For DIN A4 format, we recommend a font size of 11 pt at 15.5 pt line spacing (please refer to the example on the right).

Goethe-Institut e. V. Zentrale Dachauer Straße 122 80637 München Deutschland Telefon +49 (0) 89 159 210 marketing@goethe.de www.goethe.de

Back covers may be colour filled and plain or may include images. Our logo is no longer displayed on back covers. Template files in InDesign format can be downloaded from the Goethe extranet.

Goethe-Institut design and layout principles, April 2011

Goethe-Institut e. V. Zentrale Dachauer Straße 122 80637 München Deutschland Telefon +49 (0) 89 159 210 marketing@goethe.de www.goethe.de

Page 47 Print products Inside pages

INSIDE PAGES Inside pages reflect the brand profile of the Goethe-Institut in typography, visual language and use of colour. The print space is the framework for layout elements. Column headers and page numbers are located outside the print space. Please use the upper edge of the grid for orientation, as shown on the right. Template files in InDesign format can be downloaded from the Goethe extranet.

HIER STEHT EINE KAPITELüBERSCHRIFT. LEADTEXTE BILDEN DEN EINSTIEG IN EINEN TEXT UND FüHREN KURz UND PRäzISE IN DEN INHALT EIN. IHR FORMALER UMGANG RICHTET SICH NACH DEN REGELN DES HEADLINEVERHALTENS.

HIER STEHT EINE zWISCHENüBERSCHRIFT. SIE SOLLTE MÖGLICHST KURz GEHALTEN WERDEN, DAMIT UNNÖTIGE TEXTLüCKEN VERMIEDEN WERDEN. Nam rest aut volupta aliquo et quo ipsam, officaerunt ad eserit estissi moloratate con porae sam etur? Gendebis quibusam es demporis dolupta temperu ndiates consequaes qui cus estiis que atecus asperum quidebit ut qui velia nus, namus, sundi officias ilit pelia aces dolorrum sunt lantia dolupta alis aut omnime pressimpore aspelli quates modis et. Esequatiis nis qui id minuscipsa ipsum num quibus core volupt ur rem atemolo ribuscia ipsus molo venis sunt ut aut vere.la ne sectur, non coreper Chillam lab il est, culparum del inctus alibus, simenimus, quos quiditis exceruptas modi cum ex eos restio in estecabo. Cation nonse et moluptaercit porempora nam quaspedi nihilissit que as doluptas squias eaque volum. Nihil et eturi consenet offic torepel itatquas aut minis. Doloribust dellam as dollitiae venia veri utate nem essi blam ipsum etur? Qui ut eum et occulparum rerae ellaut doluptatur?

iminullendi dent, tem fugiaeperes adi cus idignimpe comniet es voluptas estrumendi dolor adipsum quid endenim agnihit quunti dolorpo sapiet ut omnisci ium lacerum volecae. Epellorio. Et aut periorem fuga. Nequi ducidia nis ea dis molorit alit aliquisciati in perori officabore quatess itaquuntet liquis ut omnihil latiumet volene eum repediosam quo voluptate doluptintem facium dunt endendunt laborit poresequam, cus same nectur? Quidunt, nossimo ditiatur? Quis rest que milis rempost, unt que vel moluptati occuptas aliquis sit re, et reperum velecte abo. Piet rerum in cum fugiat qui doluptam hil eossitam nos aute repudi consequisit arum hic tem idi blab int et atem aut faceaqui diande entem everaec eatur, non comnien imenist, in nam repel invelent. Nulloreprati blaut lam eum eum, cuptam, con enditat quo bla conesed maio te nos voluptaqui unt.

SUST, OFFICIMINT, ID ET AM REICAM.

Vvidel inctemolut imus acerit aut praepel incia voluptat videssumvenitiost volupti deles dolupic atiunt que am sim non et liquosa ndiore eumque vero magnistrum quis maximpedis et assitiandae occum ilita nobitas natur apid molorpo rpossimos re prati autem lacereped et fugiatur aut repelles debis a sit velisquas estrum volupta tiaepero idis aut hariaturit quunt. Res mi, que perumquatis sae non cus volectotate ne dolupis aut eos sam dolenis et volorer spernat volorer orerum acea comnis core. sunt, odiciam. qui vel eni cum nulluptatur? Esta lorum pina dororum inusiret dolorum sumes trawaj.

Te nia dolo quae eatiur, consere ptasit volendu ciatiundit identur, ab inia doluptaest harchil ianimus, im ent eaquam, quias am fugitiassunt ut antur? Quis veriosa nihitae voluptisqui consequi to es at as magnis explatem voluptatio veliquide doluptio. Nem rem faciasimil milit posseque sedi tessi saniatiis ducia voluptati omnis parunt. Et preium, utemporiam inum facest fugia aliquis iduciatur, eum ea sitat quis aceptiunti net es coremod quae iderem et pe cus accullat ut quuntiam sequi undit ut omnime sinctis verum repuda volorrum, sus venimolores magniat mo blaut omnis eius eaqui anihit, quae netus. Quatem. Faccus, assit ditio. Uta con prem que siminctem faccusam renit ut ipienihicat quo et aut rerores dio qui ut quodis alit odiscip sandebit ellore planduntio. Et litates eatus cum nes rerit expla volupta teniandem sitaepelles abore poreiunt volum etus. Apit officipsae velent ut quidia alitatur, il ius, que et offici ommollit voloriatur, comnihictur?

Et facereiciae. Otaque volupis cipient volupti remporecerro dist, quo quo bea amus apitio et utas dolorrum santiun daesti culliqu atissecea sum lacerchit labore est faccab idelliqui consequia dempeli squidi repro maio. Rae nim ipicipsae aut que ab ium faccusda

El magnimin re voluptaspel et volecta ecuptam, alit, etur rem andaeptatur acium quis maio to doluptate arum faccum auta con es volo tem quo blaccaborum ra dolorum nonsentius, optaspis quis iscit.

QUI VEL MOLORE QUI RE ALITI INULC.

Goethe-Institut design and layout principles, April 2011

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

Bildunterschriften werden in der Clan Narrow LF Bold gesetzt. Gendebis quibusam es demporis lupta temperu ndiates consequaes qui cus estiis que atecus. Gendebis quibusam es demporis lupta temperu ndiates consequaes qui cus estiis que atecus.

Page 48

Cover/back cover

Print products DIN A4 brochure

Page layout for a DIN A4 brochure The overview on the right shows an example of the page sequence for a DIN A4 brochure.

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL. Goethe-Institut e. V. ggf. Abteilung Musterstraße 123 12345 Musterstadt Musterland

Goethe-Institut e. V. ggf. Abteilung Musterstraße 123 12345 Musterstadt Musterland

T +49 89 1 23 45-0 F + 49 89 1 23 45-0 info@goethe.de

A template in InDesign format can be downloaded from the Goethe extranet. Inside pages 4

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

HIER STEHT EINE zWISCHENüBERSCHRIFT. SIE SOLLTE MÖGLICHST KURz GEHALTEN WERDEN, UM UNNÖTIGE TEXTLüCKEN zU VERMEIDEN. Nam rest aut volupta aliquo et quo ipsam, officaerunt ad eserit estissi moloratate con porae sam etur? Gendebis quibusam es demporis dolupta temperu ndiates consequaes qui cus estiis que atecus asperum quidebit ut qui velia nus, namus, sundi officias ilit pelia aces dolorrum sunt lantia dolupta alis aut omnime pressimpore aspelli quates modis et. Esequatiis nis qui id minuscipsa ipsum num quibus core volupt ur rem atemolo ribuscia ipsus molo venis sunt ut aut vere.la ne sectur, non coreper Chillam lab il est, culparum del inctus alibus, simenimus, quos quiditis exceruptas modi cum ex eos restio in estecabo. Cation nonse et moluptaercit porempora nam quaspedi nihilissit que as doluptas squias eaque volum. Nihil et eturi consenet offic torepel itatquas aut minis. Doloribust dellam as dollitiae venia veri utate nem essi blam ipsum etur? Qui ut eum et occulparum rerae ellaut doluptatur?

HIER KANN EINE UNTERüBERSCHRIFT STEHEN.

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

ALIS AUDICREPTATQUE VIDEBIS EX EVENIS. Velibusanis exceatur ad qui dempores voloreptae sint quatur Raturis ma que nonsequiat Bearum ius rerro blatat omniminia earchiti commo quia consed magnis simporibus vollor ad que volut ut aut optas eata quiam, eum, sit, quid et porenihic tessime eumquid elluptat eum ut qui abo. Edi resequid ullorerum que sam, utem archit untem lit fuga. Itatquid utat volorum ad maiossequate sunt eossit rerum eatiandicae reius, consectures venimpe rehent omnimoditas aut lab ilique nos consediatur, tem sitiam si volo del millo ium as quist alibus estibusamus ipiendanit eum sum nihil ipsapel luptium et rehenihita num volupti orporpos maxime vendae. Itatem nonsequ atibus et provita turisqui ut rent moluptae comnit lam ipitis endent dolor ad eum vel iditae sitatur? Ad excea net occuptur? Ut optur, cum exeruptas ditias rehendam eium volorrovid maxim ipsapel imporem. Nam res apicat. Gia voluptia voluptaerum fugitatus dolendebis ut atur maio. Occus et, utatati umenis veruptatur aut lab ipictio reruntist omnienimi, exceriandem quiste voluptatest endam, ut perit dolor se soluptatiunt aut ventiusam estius, eatur, sundita turerumquat fugia es aut ut ut resed que ommolupiet omni cuptia cone voloreribus, id ut voloruptam fugitissiti as et libus sum isciden ihicipi derrovid quiam labore nis dis alia consequide vernati consequunt lam, occate nus pa conse sam ilibusam, consequam, sae everfer oreici conest excepro mos magnient optur atam abo. Et odi quo et voluptaquam volor aped quia non con nimiliciae porrum vite ium aperum resti reiume latureictat ut ad et ventur, alit aut pedis incturerrunt ipit, net acerum faccus nos de incienditiam facesti uribus sant voluptatem ra comnimpores debit apiendae dunt essunt volorep erumendest dolorescium ut labori volessim et voluptam fugitam, occabo. Nem res denet, simagnis adis reperep edipsam, que vel il et od qui blabore volupta ecuptatur adio berum, saeraepta volore consequae. As ditiore ipitaturnon estis cusanda ersperro beaquis eos alitatium res dolum lam evellisque et aut apernamus aditatus rescipsam sime magnissi cupta non nimin rempos pa nonsequi tem recae pel et quo ilitatis vit estia sed quo volupta temqui ommoles dolorat emporunt ea quias eum natibus sunt.

Goethe-Institut design and layout principles, April 2011

SUST, OFFICIMINT, ID ET AM REICAM.

El magnimin re voluptaspel et volecta ecuptam, alit, etur rem andaeptatur acium quis maio to doluptate arum faccum auta con es volo tem quo blaccaborum ra dolorum nonsentius, optaspis quis iscit.

QUI VEL MOLORE QUI RE ALITI INULC.

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL. HIER KANN EINE UNTERüBERSCHRIFT STEHEN.

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

HIER STEHT EINE KAPITELHEADLINE. LEADTEXTE BILDEN DEN EINSTIEG IN EINEN TEXT UND FüHREN KURz UND PRäzISE IN DEN INHALT EIN. IHR FORMALER UMGANG RICHTET SICH NACH DEN REGELN DES HEADLINEVERHALTENS. Nam rest aut volupta aliquo et quo ipsam, officaerunt ad eserit estissi moloratate con porae sam etur? Gendebis quibusam es demporis dolupta temperu ndiates consequaes qui cus estiis que atecus asperum quidebit ut qui velia nus, namus, sundi officias ilit pelia aces dolorrum sunt lantia dolupta alis aut omnime pressimpore aspelli quates modis et. Esequatiis nis qui id minuscipsa ipsum num quibus core volupt ur rem atemolo ribuscia ipsus molo venis sunt ut aut vere.la ne sectur, non coreper Chillam lab il est, culparum del inctus alibus, simenimus, quos quiditis exceruptas modi cum ex eos restio in estecabo. Cation nonse et moluptaercit porempora nam quaspedi nihilissit que as doluptas squias eaque volum. Nihil et eturi consenet offic torepel itatquas aut

minis. Doloribust dellam as dollitiae venia veri utate nem essi blam ipsum etur? Qui ut eum et occulparum rerae ellaut doluptatur? officabore quatess itaquuntet liquis ut omnihil latiumet volene eum repediosam quo voluptate doluptintem facium dunt endendunt laborit poresequam, cus same nectur? Quidunt, nossimo ditiatur? Quis rest que milis rempost, unt que vel moluptati occuptas aliquis sit re, et reperum velecte abo. Piet rerum in cum fugiat qui doluptam hil eossitam nos aute repudi consequisit arum hic tem idi blab int et atem aut faceaqui diande entem everaec eatur, non comnien imenist, in nam repel invelent. Nulloreprati blaut lam eum eum, cuptam, con enditat quo.

Page 49

Cover/back cover

Print products Brochure in letter format

Page layout for a brochure in letter format

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL. Goethe-Institut e. V. ggf. Abteilung Musterstraße 123 12345 Musterstadt Musterland

Goethe-Institut e. V. ggf. Abteilung Musterstraße 123 12345 Musterstadt Musterland

T +49 89 1 23 45-0 F + 49 89 1 23 45-0 info@goethe.de

The overview on the right shows an example of the page sequence for a brochure in letter format. A template in InDesign format can be downloaded from the Goethe extranet.

Inside pages 4

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

HIER KANN EINE UNTERüBERSCHRIFT STEHEN.

QUI VEL MOLORE QUI RE ALITI INULC. Vvidel inctemolut imus acerit aut praepel incia voluptat videssumvenitiost volupti deles dolupic atiunt que am sim non et liquosa ndiore eumque vero magnistrum quis maximpedis et assitiandae occum ilita nobitas natur apid molorpo rpossimos re prati autem lacereped et fugiatur aut repelles debis a sit velisquas estrum volupta tiaepero idis aut hariaturit quunt. Res mi, que perumquatis sae non cus volectotate ne dolupis aut eos sam dolenis et volorer spernat volorer orerum acea comnis core. sunt, odiciam. qui vel eni cum nulluptatur? Esta lorum pina dororum inusiret dolorum sumes trawaj. Et facereiciae. Otaque volupis cipient volupti remporecerro dist, quo quo bea amus apitio et utas dolorrum santiun daesti culliqu atissecea sum lacerchit labore est faccab idelliqui consequia dempeli squidi repro maio. Rae nim ipicipsae aut que ab ium faccusda

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

Goethe-Institut design and layout principles, April 2011

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

SUST, OFFICIMINT, ID ET AM REICAM. Te nia dolo quae eatiur, consere ptasit volendu ciatiundit identur, ab inia doluptaest harchil ianimus, im ent eaquam, quias am fugitiassunt ut antur? Quis veriosa nihitae voluptisqui consequi to es at as magnis explatem voluptatio veliquide doluptio. Nem rem faciasimil milit posseque sedi tessi saniatiis ducia voluptati omnis parunt. Et preium, utemporiam inum facest fugia aliquis iduciatur, eum ea sitat quis aceptiunti net es coremod quae iderem et pe cus accullat ut quuntiam sequi undit ut omnime sinctis verum repuda volorrum, sus venimolores magniat mo blaut omnis eius eaqui anihit, quae netus. Quatem. Faccus, assit ditio. Uta con prem que siminctem faccusam renit ut ipienihicat quo et aut rerores dio qui ut quodis alit odiscip sandebit ellore planduntio. Et litates eatus cum nes rerit expla volupta teniandem sitaepelles abore poreiunt volum etus. Apit officipsae velent ut quidia alitatur, il ius, que et offici ommollit voloriatur, comnihictur?

El magnimin re voluptaspel et volecta ecuptam, alit, etur rem andaeptatur acium quis maio to doluptate arum faccum auta.

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL. HIER KANN EINE UNTERüBERSCHRIFT STEHEN.

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

veri utate nem essi blam ipsum etur? Qui ut eum et occulparum rerae ellaut doluptatur? officabore quatess itaquuntet liquis ut omnihil latiumet volene eum repediosam quo voluptate doluptintem facium dunt endendunt laborit poresequam, cus same nectur? Quidunt, nossimo ditiatur? Quis rest que milis rempost, unt que vel moluptati occuptas aliquis sit re, et reperum velecte abo. Piet rerum in cum fugiat qui doluptam hil eossitam nos aute repudi consequisit arum hic tem idi blab int et atem aut faceaqui diande entem everaec eatur, non comnien imenist, in nam repel invelent. Nulloreprati blaut lam eum eum, cuptam, con enditat quo.

Page 50

Cover/back cover

Print products DIN A5 brochure

Page layout for a DIN A5 brochure The overview on the right shows an example of the page sequence for a DIN A5 brochure.

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL. Goethe-Institut e. V. ggf. Abteilung Musterstraße 123 12345 Musterstadt Musterland

Goethe-Institut e. V. ggf. Abteilung Musterstraße 123 12345 Musterstadt Musterland

T +49 89 1 23 45-0 F + 49 89 1 23 45-0 info@goethe.de

A template in InDesign format can be downloaded from the Goethe extranet. Inside pages 4

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

HIER STEHT EINE zWISCHENHEADLINE. SIE SOLLTE MÖGLICHST KURz GEHALTEN WERDEN, UM UNNÖTIGE TEXTLüCKEN zU VERMEIDEN.

HIER KANN EINE UNTERüBERSCHRIFT STEHEN.

Nam rest aut volupta aliquo et quo ipsam, officaerunt ad eserit estissi moloratate con porae sam etur? Gendebis quibusam es demporis dolupta temperu ndiates consequaes qui cus estiis que atecus asperum quidebit ut qui velia nus, namus, sundi officias ilit pelia aces dolorrum sunt lantia dolupta alis aut omnime pressimpore aspelli quates modis et. Esequatiis nis qui id minuscipsa ipsum num quibus core volupt ur rem atemolo ribuscia ipsus molo venis sunt ut aut vere.la ne sectur, non coreper Chillam lab il est, culparum del inctus alibus, simenimus, quos quiditis exceruptas modi cum ex eos restio in estecabo.

QUI VEL MOLORE QUI RE. Vvidel inctemolut imus acerit aut praepel incia voluptat videssumvenitiost volupti deles dolupic atiunt que am sim non et liquosa ndiore eumque vero magnistrum quis maximpedis et assitiandae occum ilita nobitas natur apid molorpo rpossimos re prati autem lacereped et fugiatur aut repelles debis a sit velisquas estrum volupta tiaepero idis aut hariaturit quunt. Res mi,

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

HIER STEHT EINE KAPITELHEADLINE.

HIER KANN EINE UNTERüBERSCHRIFT STEHEN.

del inctus alibus, simenimus, quos quiditis exceruptas modi cum ex eos restio in estecabo. Cation nonse et moluptaercit porempora nam quaspedi nihilissit que as doluptas squias eaque volum. Nihil et eturi consenet offic torepel itatquas aut minis. Doloribust dellam as dollitiae venia veri utate nem essi blam ipsum etur? Qui ut eum et occulparum rerae ellaut doluptatur? Officabore quatess itaquuntet liquis ut omnihil latiumet volene eum repediosam quo voluptate doluptintem facium dunt endendunt laborit poresequam.

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

que perumquatis sae non cus volectotate ne dolupis aut eos sam dolenis et volorer spernat volorer orerum acea comnis core. sunt, odiciam. qui vel eni cum nulluptatur? Esta lorum pina dororum in quasiret dolorum sumes trawaj. Et facereiciae. Otaque volupis cipient volupti remporecerro dist, quo quo bea amus apitio et utas dolorrum santiun daesti culliqu atissecea sum lacerchit labore est faccab idelliqui consequia dempeli squidi repro maio. Rae nim ipicipsae aut que ab ium faccusda iminullendi dent, tem fugiaeperes adi cus idignimpe comniet es voluptas estrumendi dolor adipsum quid endenim agnihit quunti dolorpo sapiet ut omnisci ium lacerum volecae. Epellorio. Et aut periorem fuga. Nequi ducidia nis ea dis molorit alit aliquisciati in perori officabore quatess itaquuntet liquis ut omnihil latiumet volene eum repediosam quo voluptate doluptintem facium dunt endendunt laborit poresequam, cus same nectur? Quidunt, nossimo ditiatur? Quis rest que milis rempost, unt que vel moluptati occuptas aliquis sit re, et reperum velecte abo. Piet rerum in cum fugiat qui doluptam hil eossitam nos aute repudi. Nequi ducidia nis ea dis molorit alit aliquisciati in perori officabore quatess itaquuntet liquis ut.

Goethe-Institut design and layout principles, April 2011

Page 51

Cover/back cover

Print products DIN long brochure

Page layout for a DIN long brochure The overview on the right shows an example of the page sequence for a DIN long brochure.

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL. Goethe-Institut e. V. ggf. Abteilung Musterstraße 123 12345 Musterstadt Musterland

Goethe-Institut e. V. ggf. Abteilung Musterstraße 123 12345 Musterstadt Musterland

T +49 89 1 23 45-0 F + 49 89 1 23 45-0 info@goethe.de

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

The practical DIN long format is an ideal complement to brochures in DIN A4. Inside pages A template in InDesign format can be downloaded from the Goethe extranet.

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL. HIER KANN EINE UNTERüBERSCHRIFT STEHEN.

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

HIER STEHT EINE KAPITELüBERSCHRIFT. EINFüHRUNGSTEXTE BILDEN DEN EINSTIEG IN EINEN TEXT UND FüHREN KURz UND PRäzISE IN DEN INHALT EIN. IHR FORMALER UMGANG RICHTET SICH NACH DEN REGELN DES HEADLINEVERHALTENS.

HIER STEHT EINE zWISCHENHEADLINE. SIE SOLLTE MÖGLICHST KURz GEHALTEN WERDEN, DAMIT UNNÖTIGE TEXTLüCKEN VERMIEDEN WERDEN.

HIER STEHT EINE zWISCHENHEADLINE. SIE SOLLTE MÖGLICHST KURz GEHALTEN WERDEN, UM UNNÖTIGE TEXTLüCKEN zU VERMEIDEN.

Kolumnentitel Kolumnentitel 2. Zeile optional farbig

QUI VEL MOLORE QUI RE.

Et facereiciae. Otaque volupis cipient volupti remporecerro dist, quo quo bea amus apitio et utas dolorrum santiun daesti culliqu atissecea sum lacerchit labore est facca.

Goethe-Institut design and layout principles, April 2011

Et facereiciae. Otaque volupis cipient volupti remporecerro dist, quo quo bea amus apitio et utas dolorrum santiun daesti culliqu atissecea sum lacerchit labore est facca.

Page 52

Cover/back cover

Print products DIN long brochure

Page layout for a DIN long flyer in landscape format

Goethe-Institut e.V. ggf. Abteilung Musterstraße 123 12345 Musterstadt Musterland

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

T +49 89 1 23 45-0 F + 49 89 1 23 45-0 info@goethe.de

The overview on the right shows an example of the page sequence for a DIN long flyer in landscape format. Column headers and page numbers are omitted due to the extreme landscape format.

Inside pages ALIS AUDICREPTATQUE VIDEBIS EX EVENIS.

A template in InDesign format can be downloaded from the Goethe extranet.

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL. HIER KANN EINE UNTERüBERSCHRIFT STEHEN.

Goethe-Institut design and layout principles, April 2011

Velibusanis exceatur ad qui dempores voloreptae sint quatur Raturis ma que nonsequiat Bearum ius rerro blatat omniminia earchiti commo quia consed magnis simporibus vollor ad que volut ut aut optas eata quiam, eum, sit, quid et porenihic tessime eumquid elluptat eum ut qui abo. Edi resequid ullorerum que sam, utem archit untem lit fuga. Itatquid utat volorum ad maiossequate sunt eossit rerum eatiandicae reius, consectures venimpe rehent omnimoditas aut lab ilique nos consediatur, tem sitiam si volo del millo ium as quist alibus estibusamus ipiendanit eum sum nihil ipsapel luptium et rehenihita num.

Page 53

Cover

Back cover

Print products DIN A6 Flyer

ALIS AUDICREPTATQUE VIDEBIS EX. Velibusanis exceatur ad qui dempores voloreptae sint quatur Raturis ma que nonsequiat Bearum ius rerro blatat omniminia earchiti commo quia consed magnis simporibus vollor ad que volut ut aut optas eata quiam, eum, sit, quid et porenihic tessime eumquid elluptat eum ut qui abo.

Page layout for DIN A6 flyers in portrait and landscape format

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

Edi resequid ullorerum que sam, utem archit untem lit fuga. Itatquid utat volorum ad maiossequate sunt eossit rerum eatiandicae reius, consectures venimpe rehent omnimoditas aut lab ilique nos consediatur, tem sitiam si volo del millo ium as quist alibus estibusamus ipiendanit eum sum nihil ipsapel luptium et rehenihita num.

VELIBUSANIS EXCEATUR AD QUI. Voloreptae sint quatur Raturis ma que nonsequiat Bearum ius rerro blatat omniminia earchiti commo quia consed magnis simporibus vollor ad que volut ut aut optas eata quiam, eum, sit, quid et porenihic tessime eumquid elluptat eum ut qui abo. Voloreptae sint quatur Raturis ma que nonsequiat Bearum ius rerro blatat omniminia earchiti commo quia consed magnis simporibus vollor ad que volut ut aut optas eata quiam, eum, sit, quid et porenihic tessime eumquid elluptat eum ut qui abo.

The overview on the right shows an example of the page sequence for DIN A6 flyers in portrait and landscape format. Column headers and page numbers are omitted due to the limited format size.

Cover

Back cover ALIS AUDICREPTATQUE VIDEBIS EX.

A template in InDesign format can be downloaded from the Goethe extranet.

Goethe-Institut design and layout principles, April 2011

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

Page 54 Print products Compact disc

Page layout Compact disc The overview on the right shows an example of the page layout for a compact disc and its packaging elements. Either a picture or colour fill may be used.

Compact disc Compact disc title In caps and prominent.

Compact disc title In caps and prominent.

Titel Der Compact Disc. Versal und Prominent.

A template in InDesign format can be downloaded from the Goethe extranet. Compact disc booklet Compact disc booklet Hier kann erklärender Text zum Inhalt der Compact Disc stehen.

Ovidell acerspe lluptam lab idebis plicae et as reped quo volest, quiatur ra necto berrovid et asi sequiae es aut laccuptia verum eum net rerions equodignim vero de peratam quia volore dolore sunt eos vellor seque volupta tiberum essi am eiumqua mustis dolestis de nonsecum voluptas rehenet umenime nus quo tem esequibus, to te del int ad eos sant eturitis int.eictotasped quam faccum auta volore nullaborero odiorent, comnim labore plamus, quost odi tectes.

Titel Der Compact Disc. Versal und Prominent.

Compact disc title In caps and prominent.

Compact disc inlay front/back

Goethe-Institut design and layout principles, April 2011

Goethe-Institut e. V. Dept. if applicable 123, Any Street Anytown AN12 Y34 Exampleland T. +49 (0)89 123 450 F. +49 (0)89 123 450 info@goethe.de

COMPACT DISC TITLE.

T. +49 (0)89 123 450 F. +49 (0)89 123 450 info@goethe.de

COMPACT DISC TITLE.

Goethe-Institut e. V. Dept. if applicable 123, Any Street Anytown AN12 Y34 Exampleland

Page 55 Print products Types of paper

Types of paper The feel of the paper employed has a significant influence on the first impression of printed products. Depending on the content, intended use and type of brochures, we can choose between coated and uncoated papers. We have defined essential properties for both types of paper to provide orientation in the selection of papers.

Coated paper Basic properties: coated surface, silk-matt finish, clear white colour, regular to high volume. Suggestion: LumiSilk is an example of a paper type that possesses all the defined properties. We choose a higher grammage, e.g. 300 g, for covers; a lower grammage, e.g. 150 g, may be used for inside pages.

Uncoated paper Basic properties: uncoated surface, high surface roughness, clear white colour and high volume. Suggestion: PlanoArt is an example of a paper type that possesses all the defined properties. We choose a higher grammage, e.g. 300 g, for covers; a lower grammage, e.g. 130 g, may be used for inside pages.

Goethe-Institut design and layout principles, April 2011

Page 56

Goethe-Institut design and layout principles, April 2011

Page 57 Advertisements Principles

LAYOUT PRINCIPLES FOR ADVERTISEMENTS The layout and design of advertisements is oriented on the typical layout guidelines of the print product concept. No matter whether it concerns image ads or recruitment ads, the emphasis on the communicative framework is also prioritised in the case of marketing applications.

CONTENT SPACE

All elements relating to the brand image may be placed anywhere within the content space.

CONTENT SPACE

Goethe-Institut design and layout principles, April 2011

Page 58 Advertisements Image ads

EXAMPLES OF IMAGE ADS The overview on the right shows various examples of image ads. A template in InDesign format can be downloaded from the Goethe extranet.

KULTUR: VERBINDET. Nam rest aut volupta aliquo et quo ipsam, officaerunt ad eserit estissi moloratate con porae sam etur? Gendebis quibusam es demporis dolupta temperu ndiates consequaes qui cus estiis que atecus asperum quidebit ut qui velia nus, namus, sundi officias ilit pelia aces dolorrum sunt lantia dolupta alis aut omnime ressimpore aspelli quates modis et. www.goethe.de

HIER STEHT DIE ĂźBERSCHRIFT. TEILE KĂ&#x2013;NNEN SICH FARBLICH ABSETzEN. Nam rest aut volupta aliquo et quo ipsam, officaerunt ad eserit estissi moloratate con porae sam etur? Gendebis quibusam es demporis dolupta temperu ndiates consequaes qui cus estiis que atecus asperum quidebit ut qui velia nus, namus, sundi officias ilit pelia aces dolorrum sunt lantia dolupta alis aut omnime ressimpore aspelli quates modis et. www.goethe.de

Goethe-Institut design and layout principles, April 2011

Page 59 Advertisements Recruitment ad

EXAMPLE OF A RECRUITMENT AD The example on the right shows the layout of a recruitment ad.

SPRACHE. KULTUR. DEUTSCHLAND. Text zur Selbstdarstellung Nam rest aut volupta aliquo et quo ipsam, officaerunt ad eserit estissi moloratate con porae sam etur? Gendebis quibusam es demporis dolupta temperu ndiates consequaes qui cus estiis que atecus asperum quidebit ut qui velia nus, namus, sundi officias ilit pelia aces dolorrum sunt lantia dolupta alis aut omnime pressimpore aspelli quates modis et.

Zum nächstmöglichen Zeitpunkt suchen wir einen/eine

DEUTSCHLEHRER/-IN

Mit uns nam rest aut volupta aliquo et quo ipsam, officaerunt ad eserit estissi moloratate con porae sam etur? Gendebis quibusam es demporis dolupta temperu ndiates consequaes qui cus estiis que atecus asperum quidebit ut qui velia nus, namus, sundi officias ilit pelia aces dolorrum sunt lantia dolupta alis aut omnime pressimpore aspelli quates modis et. Ihre Chancen nam rest aut volupta aliquo et quo ipsam, officaerunt ad eserit estissi moloratate con porae sam etur? Gendebis quibusam es demporis dolupta temperu ndiates consequaes qui cus estiis que atecus asperum quidebit ut qui velia nus, namus, sundi officias ilit pelia aces dolorrum sunt lantia dolupta alis aut omnime pressimpore aspelli quates modis et. Ihre Bewerbung senden Sie bitte an: Goethe-Institut e. V., ggf. Abteilung, Musterstraße 123, 12345 Musterstadt

Goethe-Institut design and layout principles, April 2011

Page 60

Goethe-Institut design and layout principles, April 2011

Page 61 Stationery/forms Business cards

Business cards

Business cards Business cards are the first step when initiating personal contact. We must be seen to be sincere, straightforward and transparent, but with a certain degree of fascination. The name is highlighted in any of the eight layout colours – with the exception of Goethe Grey. A mobile phone number may be included if required – if not, this line may be omitted. For staff members in international working environments, the back may be printed with a version in a different language. The green back with the white logo element is optional. A template in InDesign format for the business card can be downloaded from the Goethe extranet.

MAX MUSTERMANN Berufsbezeichnung

Goethe-Institut e. V. Beispielstraße 13 12345 Beispielstadt Tel.: +49 12 345-6788 Fax: +49 12 345-6789 Mobil: +49 0123 456789 max.mustermann@goethe.de www.goethe.de

International version MAX MUSTERMANN

MAX MUSTERMANN

Berufsbezeichnung

Job Title

Goethe-Institut e. V. Beispielstraße 13 12345 Beispielstadt

Goethe-Institut e. V. Sample Street 13 12345 Sample Town

Tel.: +49 12 345-6788 Fax: +49 12 345-6789 Mobil: +49 0123 456789

Tel.: +49 12 345-6788 Fax: +49 12 345-6789 Mobile: +49 123 456789

max.mustermann@goethe.de www.goethe.de

Front

Goethe-Institut design and layout principles, April 2011

Back

Page 62 Stationery/forms Greetings card

Greetings card

Greetings card Greetings cards always contain a message handwritten by their addresser. A friendly and personal gesture to the addressee. They do not display any particular address and can be used throughout the world in this form. A template in InDesign format for the greetings card can be downloaded from the Goethe extranet. www.goethe.de

Goethe-Institut design and layout principles, April 2011

Page 63 Stationery/forms Stationery

Stationery with personalised information

Preprinted sheet

Stationery The aim of a letter is to communicate information. Stationery with a clear and distinctive layout supports this aim. The logo size used on stationery is smaller than on other print products. Each preprinted sheet displays the logo, folding marks and the URL, is standardised for worldwide use and is produced by commercial printers. All additional information required (addresser, address, banking details, etc.) are printed by each employee on in-house office printers together with the letter content. All employees receive an MS Word template that they can personalise with their own details. A template in InDesign format for the stationery and a template in MS Word format for the personalised details can be downloaded from the Goethe extranet.

Goethe-Institut e.V. Beispielstraße 123 . 12345 Beispielstadt

Beispielorganisation Bernd Beispiel Beispielstraße 123 12345 Beispielstadt Beispielland

12.12.2012 Betreff:

Sehr geehrte Damen und Herren, Olorrum si con core volectam, sit qui aturi voluptatis res voluptam, estis estrum fugia corro et exerund igendae. Endant fugitio sapici blabora simaior eculparumqui volorepuda idunt ipidendae nihil int omnitasperum int. Nam, volessi tinciisit ulparci delesent, et, quidus aditatur? Quissit atiamus ent. Nullaut parchic aborerum volorro quamet lautempossi blaceptionem soluptatati con est venihitis quatur? Icaborerum natem reriber rumquam erist que omnimol uptibus, es diorest, et magnatur sunt eatum quam nonsed estistorum doluptate solorit qui dolor alitatet, qui audi nihit, sequam event il endiscietur auditas picipsunt hilis arum ut pratam qui as. us aut atemqui incto volor as dolesto remquo temqui des nos etur, serferunt facerferum ulluptaquid magnis aud quae nam aut qui con con res vollibusdae ra verit aligendit fugiaer iossequibus rem experiorepe eicimus amusapienis cus doloreh.

Goethe-Institut e. V. Beispielstraße 123 12345 Beispielstadt Postfach 190419 12345 Beispielstadt Max Mustermann Musterabteilung Musterfunktion T +49 89 1 59 21-0 F +49 89 1 59 21-450 mustermann@goethe.de Bankverbindung A Konto 12 345 678 BLZ 000 000 00 IBAN DE123456789012345678 90 Bankverbindung B Konto 12 345 678 BLZ 000 000 00 IBAN DE123456789012345678 90 Bankverbindung C Konto 12 345 678 BLZ 000 000 00 IBAN DE12345678901234567890 USt-ID-Nr. DE 129516430

Mit freundlichen Grüßen

www.goethe.de

Goethe-Institut design and layout principles, April 2011

www.goethe.de

Page 64 Stationery/forms Forms

FAX An: Beispielorga nisation, Bernd Beispiel Datum: 12.12. 2012 Fax: +49 (0) 89 12345 - 6789 Seiten: Seiten anzahl inklus ive Deckblatt Absender: Ma x Mustermann Betreff:

Forms The layout of the forms is always uniform. The font and logo sizes are equivalent to those used for stationery. In the templates, all fields have fixed positions, and the content can be edited by all users as they see fit.

Sehr geehrte

Damen und Her

ren,

MEMO

Olorrum si con core volectam , sit qui aturi fugia corro et voluptatis res exerund igenda voluptam, est e. Endant fug is estrum volorepuda idu itio sapici bla nt ipidendae nih bora simaior An: Beispielorganisation, Bernd Beispiel il int omnitaspe eculparumqui Nam, volessi rum int. tinciisit ulparc Datum: 12.12.2012 i delesent, et, Nullaut parchi qui dus adi c aborerum vol tatur? Quissit Absender: Max Mustermann orro quamet atiamus ent. con est venihit lautempossi bla is quatur? ceptionem sol Betreff: uptatati Icaborerum nat em reriber rum quam erist que magnatur sun omnimol uptibu t eatum quam s, es diorest, nonsed estisto qui audi nihit, et rum doluptate sequam event solorit qui dol il endiscietur or alitatet, qui as. auditas picips unt hilis arum ut pratam us aut atemqui incto volor as dolesto remquo ferum ullupta temqui des nos quid magnis aud etur, e. quae nam aut ser Sehr geehrte Damen und Herren, V. ferunt fac aligendit fugiae erqui con con Goethe-Institut r iossequibus Beispielstraße res vollibu123 rem experiorep sda e eicimus am12345 Beispielstadt e ra verit usapienis cus Olorrum si con core volectam, sit qui aturi voluptatis res voluptam, estis estrum doloreh. Max Mustermann fugia corro et exerund igendae. Endant fugitio sapici blabora simaior eculparumqui Musterabteilung Musterfunktion volorepuda idunt ipidendae nihil int omnitasperum int. T +49 89 1 59 21-0 Nam, volessi tinciisit ulparci delesent, quidus aditatur? Quissit atiamus ent. Mitet,fre F +49 89 1 59 21-450 undlichen Grü ßen mustermann@goethe.de Nullaut parchic aborerum volorro quamet lautempossi blaceptionem soluptatati con est venihitis quatur? Icaborerum natem reriber rumquam erist que omnimol uptibus, es diorest, et magnatur sunt eatum quam nonsed estistorum doluptate solorit qui dolor alitatet, qui audi nihit, sequam event il endiscietur auditas picipsunt hilis arum ut pratam qui as. us aut atemqui incto volor as dolesto remquo temqui des nos etur, serferunt facerferum ulluptaquid magnis aud quae nam aut qui con con res vollibusdae ra verit aligendit fugiaer iossequibus rem experiorepe eicimus amusapienis cus doloreh.

We use our corporate font, Goethe FF Clan. Template files in MS Word format for forms can be downloaded from the Goethe extranet.

Mit freundlichen Grüßen

Goethe-Institut design and layout principles, April 2011

Max Musterma nn Musterabteilu ng Musterfunktion T +49 89 1 59 21-0 F +49 89 1 59 21-450 mustermann@ goethe.de

www.goethe.d

www.goethe.de

Forms

Goethe-Institu t e. V. Beispielstraße 123 12345 Beispielsta dt

Page 65 Stationery/forms Documents Seite 1, Automati Sei te 1, Autsche Wiederholung omatis des Titels che Wie derhol

ung des Titels

Seite 1, Aut Se Hier steH ite 1, om Auatis Wiederhol to t ein ma tis ung des Tite eche che üB er WHr ls ieder sC Riliquate molorp ift holung

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Lutp , con mvedu giaes or nulla facdi sit lit, quco ism am att.U pa seqit wi Acip exer t lu uamciet, at, lu sl iswis lorem esse min ul cum ptpsu m ullasiufeu teluex ati struodo dui etum dol veelsto tetu tudi mer mois d do et.ocodo raes itsec san au feu eu do con ex or ullat put idu autrapra nslo illa fa m lo aoveerc reimdoex tininthe en vega euga it lup nib isum exeac ulhen Ure cin ndrera rci ssequ latat it,msum cor modit la ull ntilla er issi.amre euisc nibh perlesus fe a feu cuess teinc i le tinrehtaelteiur se m evolu ve ess ug m ac feu feui bla cindeu ni ea ai m gia vel cu sm es t feu od m m do m eu feu ve ec er t m ol con dio feu iri gai tet do ve m at nd sed tet lor inis ut gue n wro oldol iur . Lutptatnum dolum loripi t preug eugait, co rer alit ure verostr eordig ue mo ismen aese si innim nit vel iriul ree m lor isi.ve olisl uter ud tie ma mmod, olu ore do am or aliqua ve t wi pado qu inut lobonit amibh ius ipi hen t.Uex t lup tiss s et tu nu exequ gnis Equa ptat re, ex Acip exill a fatat eu neug cin isl cocill iam t gaitcove sumra ieerm con ns at si llaen verescin nver etu it et ga te w amven quisi bla odgutp ul lesiur mcido ccilis im loberore , cotns sed mcore oletup isra afafac um m, si ve l se fe pr exer ve lorlaau ullascon duse tatu mo ips uaau ul lore cor meaug feu od lalup em m aceq mtofe ism l eu oretatu t, itseait d us dol ec ip ettum dit labla co feum mcinimesatu obo ea Urpsu te ga cte n hernis iritat. olore cu eu etco adi ,es tu it,feu feu qui eugiatumo m iu is o um rp e er m eug ni i co re ma ac bla er cid ex m iam bh e conulla gm te dol cu su ipit praeerci essidol diore unt inc m el iure gnsc feilla m ir obo m n ex ugiand imin nul ree hent wis ga itod ve ol nit vel Ac lup ip t iu nu es l pra ut do tate eu re m se m se tum nul re qu do feu mo w ni ex my di ve iri la ra am do co lore lum islob feu feu t, quhen lamet, quat lum ureet et nonse- ontinvero rons um exercigu nuorp do stru eum llalor lan gunul isitet e mo tatdo ero faeccer nge et lorrsu eddtet enisl tie mag moddio elit ve ute loripam odlup aumt pr quisi bla ut umius eu tis lan ga dreuisdo eq du in ve itmy nisis at m, itsilabla hecom rci ipssu feting velislor comam s Eq i. uam .dip l ut nib ncre nsput ui blercilit lum U my, co san l nim exini illacofa hve sto co eqe iuremc nul eu gia nt feu verase rpcil core metfac n pa lob erissumo ipugetaiiri hetnive vel iriu coreamfe orua giatunietco lorem do seinct ee t nu co s isns iam t au, ga scin s exer t, m et at on Hiereu qudo med dit es nullanrehe u tat ipslu it hen vel eu lob odolorem vul etnt er st lup um or ci eH ci lu ad es do m t du pt io um qu ein si lor fe do at eu nt wiHe lamet, quis emernullupt e ,Zw esse am niminatu ug eu giam do s nu lore ve cillae nd isC r su lla feu ati blam ming exeUtp mare m rs nü iustissate moue si od oreet pr feurc g-ratin Be ve e molor lobqu doatu bla tin lob dio CH atgiipitlum comm or inci emgunu cogreer eu rif pefa nsed no la con ro t cieli uisl lor lla m llan heam cil ippra utpat ve ut laneq tns itetlum nit in verilit, quisl erIqatue co list m loedit dre do nuhen r inisisi. ut henibh eu y te irit, sa ess lla ithead ndex olorem edqu mmy nt ipsu eni y nim metuam botereet e comm giamve H rlast nt in venitnam ven doloco nulo mmdo , quat wsed t ute del lpu co is lis bo ns au non uscinim ie nu lo ex eH etu feu r e lu re ga lla m t ad consed ven io Erc mediZw dio fe facinit he m nu dolore te dolore ein exe lupt u ros eugi feulad i am niaatmum ming tetudo ting ptate m t at. mm obor vel ex eumllueug at ni exeUtpat esto odistin dit g en nonsed dio pero erven m vu loodo tum olisi ciüB l- m borelor atue orem nu litt at. ipit la con o dolCH elit ut la ait alis exe luer et sum sC mErc ieros agi tetu pratum sa Hiprimm ve it,H etu ute lla r er nd tueratehe vel nitdia ndre do ex ex ftodo nehe settIqu qu adt. dit lor sum mo isl ming exeril eH nitend cips my nonseverilit,co prae Ut ilit utei pis Utp amt in ein ssed msl qui lan mat co m hen ingipit erIq ex la m y uscin ve e it con uam m et nu nit en ex Z aut hen y im im in wpra am lpute fevenit am nim ve lantfeu it ad dit ve noat is verilit, xeros doloreeUtetpdo m nsHed adi C at ut o e u odi lis ip de dio lam e t fa it ad lup l ve n qui lor ex etu ex ci üBeui rilittinm e la er nonsed dio m venttatat.lam qui euiscid n heniam odolor sum vevra scid co os lesnto e ,ex unttinpr ad qu r he s is ute do g ni C unt Er l ltu del te ex H t er at ci modia er mt.di ad rift eum etu dit vulve mitvent at. Erc tetummodo pr uaetu Ut euga m er t nt ilit at.lan pr ming us in ate nim do os etIqut ae hen alisisi ex i tetummodolor lor sum ci venimo itum tet exci ssEred et autdo eU t am tpat lore . diat. ex etue ve ex sum en mo noUt ilit di nsed lendi pis nsed di ipit latecodo lan n lo nitve verilit,noxe ve lorutsum verilit, qu henit et im o ex cips ad lest ro o exeros here e del et dito pr isl erIquam eros adaut lantfeu doaa modoet ming exs ad tin ltutm lam um m in ad tin qu lor ut ve ve io g i ve nit et eu su od nt nt at. Er eUtpat uevr m iscidunt pr ex eum it am raate . Erci te te mmo eugait alluptatatlam ipit la co ci tetum ute del etu oddia verilit, iat.t.UUt eumisc midu n henit m ve isisi ex qui tu t iliilit odol xeros ad od ntorprsu henit et m t lalan n he ex etue ad dit pr Erci aut. olor sum verint at. tinmod m nit et au ve moledo aat lam olor su lit, quis tetum ndlor t la feum i pisu m vrate qui euis l scm er ips Iq adio od uam in ci modiat. it luptat venit am Ut ilit la dunt pr ute de lam qui l etum n henit euiscidu vent at et aut. nt pr . Erci te tummod olor su m

Documents In addition to the form templates, you can also download an extra template in MS Word format for larger amounts of text. The document template has its own title page and offers additional space for larger amounts of text on the subsequent pages. Project descriptions, concepts, etc. If required, documents can also be bound in book form to lend them a dignified appearance. A template in MS Word format for documents can be downloaded from the Goethe extranet.

Hier steHt eine etwas längere titelZeile, Prominent und versal. Hier ist PlatZ für einen oPtionalen untertitel.

Document Goethe-Institut design and layout principles, April 2011

Page 66 Stationery/forms Forms

Vertical stamp

Seal

The stamp The Goethe-Institut stamp is of the logo, and an address may be added if required.

the-Ins oe

ut tit

Template files for the stamp and seal can be downloaded from the Goethe extranet.

G Any Street XY 80339 Anytown

GI_Stamp_vertical.eps

GI_Stamp_vertical_address.eps

Horizontal stamp

Any Street XY 80339 Anytown

GI_Stamp_horizontal.eps

Goethe-Institut design and layout principles, April 2011

GI_Stamp_horizontal_address.eps

GI_Seal.eps

Page 67

Goethe-Institut design and layout principles, April 2011

Page 68 Exhibition and information stands General

Example of an exhibition/information stand

Exhibition/information stand The construction and layout of exhibition and information stands is determined by the general layout and design guidelines. We employ the logo, the Goethe colour system, the Goethe corporate font and the Goethe visual language as described in the manual.

Goethe-Institut design and layout principles, April 2011

Page 69

Checklist

Exhibition and information stands Checklist

On the basis of this checklist, we can determine whether our exhibition and information stands are fully compliant with our design and layout criteria.

1. Presence An enormous number of people know and appreciate the Goethe-Institut. They want to find our exhibition/ information stand quickly and easily without having to search for it. Therefore, we must always check the following:

2. Identity The Goethe-Institut has a rather special sphere of activity: the provision of linguistic and cultural activities for Germany. We enjoy an excellent reputation and have earned enormous respect. We are dedicated to consolidating and expanding our reputation, so we always ask ourselves:

Is our stand easily recognisable and easy to find? – Highly visible and prominent logo – Brand colour green – Visible from a distance and at close range

Does the atmosphere of our stand (design/construction) communicate the character of the Goethe-Institut? – Our core values are initiative, responsibility to our culture, and trustworthiness – We may be small, but we are good

Goethe-Institut design and layout principles, April 2011

3. Design and layout guidelines The Goethe-Institut makes every effort to maintain a transparent and consistent image. A uniform layout and design concept helps us in this: our logo, brand colour, corporate font and visual language.

Does our information/exhibition stand comply with our design guidelines? – Current logo in white against a coloured background – Brand colour – Correct use of the brand colour and the layout colours – All headlines and copy in our corporate font

Page 70

Print products for exhibitions and congresses

Exhibition and information stands Print products

The assortment ranges from badges to large-format posters. The layout and design o bserves the general principles (please refer to print formats).

Maximilian Mustermann Beispielfunktion Badge

Besuchen sie uns auf der Beispielveranstaltung 2011

2011 Programm

11.11.2011 – 16.11.2011 Beispielstadt

11.11.2011 um 13 Uhr

Lesung Max Mustermann Postcard

12.11.2011 um 13 Uhr

Beispielthema Diskussion Lorem ipsum Doloremquetas

zur

Lorem ipsum dolor in corpore despixit. Sine treestram mundi oblivaremus.

Hallenplan

Einladung Beispiel veranstaltung 2011 .2011

Ebitatus aspieni ipsam ut voluptur? Ro volorerunt harcill aboreptae quo dolloresed min nis et auda quia sentur sim alitas ipitate nobiti id ute velecumet audi officipsa vellabor rehenda epremposa dolupta dit que molupta tquunto eaquis dolorest, consequi ut es as peliat parchiciti unt est ium sinissequam dunt de commodis vollamu sdandit iustiatur, ullupiduciam volore namusda imporib usdamuscias utem inti conserumque est volupis aut ad qui dignis etur, vollab iligent harcim volupis dolent. Piet laniend aessit il iunt, optatquiat.

6.11 011 – 1 11.11.2 eispielstadt B

1. Lorem ipsum 2. Dolorem 3. In corpore 4. Paxitas 5. Nolem doloresque 6. Multotudine

13.11.2011 um 13 Uhr

Konzert Musterband 14.11.2011 um 13 Uhr

Lesung Bernd Beispiel Icipsum quodipi demperf erspercias doluptatia quis moluptatas repe excest, voloribus perisqu e laccatus, illeces totat. Et aliti rerem ea coremp ore volendus estincipi.

Turecest quaerspelia qui alibus et re non rem ut alis minvelignam, accaesequo temporepro etur? Qui aut utempor aspel iunt odis dita sendis sus inim adicae pro ea quias etur? Qui blabore mporupta vendusapidia nonsequam landebis inctate nonseque et, tem faceariore init, sit.

Sprache. Kultur. Deutschland.

7. Virtumes 8. Eliquibat (Exaltit) 9. Terresat 10. Moltor

Info flyer Goethe-Institut design and layout principles, April 2011

Poster

Page 71

Goethe-Institut design and layout principles, April 2011

Page 72 Signage

Signage The indoor and outdoor guidance system provides orientation for our visitors. Thanks to compliance with our general guidelines (logo use, colour, typography and visual language), we are able to harmoniously integrate the identity of our organisation, the Goethe-Institut, into our premises. The logo and our green brand colour play an essential role in this. The signage must be quickly and easily comprehensible from a great distance. This is why we employ the highly legible font Goethe FF Clan Bold in capital letters and display our logo in a size that expresses absolute confidence. The precise size depends on the objects to which the signage is attached and the available space. You can find more information about signage in the Building and Construction Manual.

Goethe-Institut design and layout principles, April 2011

Empfang Information

Page 73

Goethe-Institut design and layout principles, April 2011

Page 74

Goethe-Institut

Joint ventures Principle

Partner

1. Goethe-Institut as host

2. Goethe-Institut as guest

3. Appearance as equal partners

The Goethe-Institut acts as host and offers another brand space to be represented in a subordinate role in its communicative media. Our design and layout follows the Goethe-Institut guidelines and integrates the partner brand.

The Goethe-Institut as a guest brand in the partner’s communicative media. The medium follows the partner’s design and layout guidelines, and the Goethe-Institut is integrated as the subordinate brand.

The Goethe-Institut and the partner make an appearance as equal partners. In this case, a completely new appearance is designed that is quite independent of the existing corporate design guidelines of both partners.

Joint ventures Joint ventures are those in which the Goethe-Institut appears together with other institutions. The relationship of the brands to one another differs according to the partner involved and the type of joint venture. This brand relationship must be fundamentally reflected in the design of the communicative media. We differentiate between three kind of brand relationships: 1. Goethe-Institut as host 2. Goethe-Institut as guest 3. Appearance as equal partners

Goethe-Institut design and layout principles, April 2011

Page 75 Joint ventures Layout

1. Goethe-Institut as host

2. Goethe-Institut as guest

CREATIVE REALISATION

PARTNER’S CORPORATE DESIGN

GOETHEINSTITUT CORPORATE DESIGN

3. Appearance as equal partners

Specially designed, neutral look

In cooperation with

PARTNER

Sprache. Kultur. Deutschland.

Our design and layout follows the Goethe-Institut corporate design guidelines and integrates the partner’s logo at the bottom left. The partner’s logo should be set in a neutral colour wherever possible. In our function as a host, we employ our logo complete with the slogan – as usual.

Goethe-Institut design and layout principles, April 2011

The layout and design is compliant with the partner’s corporate design criteria. The Goethe-Institut logo is integrated into the layout: The Goethe-Institut logo should be set in a neutral colour wherever possible. Our slogan is omitted when we appear as a guest.

For an appearance as equal partners, we create an entirely new and unique appearance and do not combine or mix the corporate design criteria of either partner. The layout and design of a neutral appearance is a special alternative that involves increased time and effort. We use this alternative only in exceptional cases.

Page 76 Joint ventures Host

Host Our design and layout follows the GoetheInstitut corporate design guidelines when we appear as the host. To simplify the integration of the partner, we use only the partner’s logo and display it in a neutral colour if possible. It is essential that the partner’s brand mark is not displayed more prominently than the Goethe-Institut logo. The partner’s logo is never displayed in close proximity to our logo. It is always placed in a special location with a tag line that describes the role of the partner. This tag line varies according to the form of joint venture: ‘In cooperation with’, ‘In collaboration with’, etc.

X X

PARTNER

GOETHEINSTITUT CORPORATE DESIGN

The tag line is set in Goethe FF Clan Bold. The font size employed is derived from the font size of the slogan displayed – ‘Kultur. Sprache. Deutschland.’ – and is therefore applicable for any format. A minimum distance of 1 X from the partner logo must be maintained. It is always set left-justified.

In cooperation with

PARTNER Sprache. Kultur. Deutschland.

The combination of the tag line and the partner’s logo is aligned with the GoetheInstitut logo.

Goethe-Institut design and layout principles, April 2011

In cooperation with

Page 77 Joint ventures Guest

Guest The design and layout is determined by the partner’s corporate design guidelines when the Goethe-Institut appears as a guest. To simplify the integration, only the GoetheInstitut logo is displayed in the partner’s layout. The placement of the Goethe-Institut logo is clearly separate from the host’s logo, and the slogan is omitted. It may be displayed in the horizontal or vertical form as needed. The tag line varies according to the form of joint activity: ‘In cooperation with’, ‘In collaboration with’, etc. The tag line is set in the partner’s corporate font.

In collaboration with

Partner’s corporate design.

Logo placement, vertical

In cooperation with

PARTNER

In collaboration with

The placement of the Goethe-Institut logo is clearly separate from the host’s logo.

Logo placement, horizontal

Goethe-Institut design and layout principles, April 2011

Page 78

Examples of use

Joint ventures Examples

1. Goethe-Institut as host

2. Goethe-Institut as guest

3. Appearance as equal partners

Lesung mit Martin Walser BUCHLADEN KÖNIG SONNENALLE 23, BERLIN

Zweite internationale Filmfestspiele Die Internationalen Filmfestspiele Berlin, die Deutsche Filmakademie und German Films haben ein gemeinsames Projekt: Ab 2011 hat die Berlinale-Reihe German Cinema eine neue Form. Ihr Programm besteht aus den Filmen, die von den Kommissionen der Deutschen Filmakademie zwischen November 2011 und Januar 2011 für die Nominierung zum Deutschen Filmpreis vorausgewählt wurden.

KonzertTage Goslar In Zusammenarbeit mit

PARTNER

In cooperation with

PARTNER

Partner Sprache. Kultur. Deutschland.

The Goethe-Institut appears as the host. The partner’s logo is integrated, and our corporate design guidelines apply.

Goethe-Institut design and layout principles, April 2011

The Goethe-Institut as the guest of a partner.

Both appear as equal partners. The partners come together in an individually defined layout and are represented only by their respective logos.

Page 79

Examples of use with several sponsors/partners

Joint ventures Examples

1. Single-sided print media

2. Print media with cover/back

Due to the many different aspects to be considered in terms of content, there is no uniform layout and design solution for use with several partners. If several partners with equal status are to be displayed, the Goethe-Institut logo may be shifted towards the top to allow the insertion of a sponsor bar. This has a maximum height of 1x. The distance between the slogan and the sponsor bar is always 1y.

HIER STEHT DIE üBERSCHRIFT. PROMINENT UND VERSAL.

KonzertTage Goslar

1. If there is insufficient space for the partner logos in the designated location, the Goethe-Institut logo may be shifted towards the top by a distance of 1y to create a partner/sponsor bar. 2. In the case of double-sided media, partner/sponsoring logos may be placed on the back.

Goethe-Institut design and layout principles, April 2011

Goethe-Institut e. V. ggf. Abteilung Musterstraße 123 12345 Musterstadt Musterland T +49 89 1 23 45-0 F + 49 89 1 23 45-0 info@goethe.de

Recreated PMS

1x 1y 1y

In Kooperation mit

max. 1x Recreated PMS

Sprache. Kultur. Deutschland.

Page 80

Goethe-Institut design and layout principles, April 2011

Page 81 Electronic media Web

Typical layout and design

WEB The Internet presence of the Goethe-Institut follows the general corporate design guidelines. We employ the logo in its horizontal form. Here, too, Goethe Green is the key colour, and it is supported by images in accordance with the visual language guidelines. The system font Verdana is employed for all editable text used on the Web.

Goethe-Institut design and layout principles, April 2011

Page 82

aGenDa

Electronic media PowerPoint

seite XY Goethe-Institut für Thema 12.12.2012

1 erstes KaPitel 1.1 Unterkapitel 1.2 Unterkapitel

titel Der PrÄsentation

2 ZWeites KaPitel 2.1 Unterkapitel 2.2 Unterkapitel

3 Drittes KaPitel

ort, DatUM

3.1 Unterkapitel 3.2 Unterkapitel

PowerPoint Presentations are an essential tool for our work. A master document ensures a consistent layout and design in this particular medium. Basic design and layout information are provided as content in the master document. We employ the system font Verdana for PowerPoint presentations. A PowerPoint presentation template can be downloaded from the Goethe extranet.

KaPiteltrenner: Hier steHt Die KaPitelÜBersCHriFt

seite XY Goethe-Institut für Thema 12.12.2012

eine seHr lanGe ÜBersCHriFt, Bei BeDarF aUCH DreiZeiliG

seite XY

ZWisCHenÜBersCHriFt Solor assenis sitis doluptatia nonsedi doluptatios rernatum dolut a volor rat faccaest omnis mi, cuptaectat. Uptibea rchit, velit eum commo mint.

seite XY Goethe-Institut für Thema 12.12.2012

ZWisCHenÜBersCHriFt - Aufzählungspunkt A, tem eos vid estis earum exerit - Aufzählungspunkt B, lorem ipsum dolorem sed numquam - Aufzählungspunkt C, neque nem rempern aturibust lant et apellan iscider nam int harionserum

ZWisCHenÜBersCHriFt - Aufzählungspunkt A, tem eos vid estis earum exerit - Aufzählungspunkt B, lorem ipsum dolorem sed numquam

Bildunterschrift, sequatem late non nonseque velliti onsedios exeri dolores

KaPiteltrenner Des ZWeiten KaPitels. JeDes KaPitel WirD DUrCH eine eiGene FarBe GeKennZeiCHnet.

seite XY Goethe-Institut für Thema 12.12.2012

eine seHr lanGe ÜBersCHriFt, Bei BeDarF aUCH DreiZeiliG

seite XY Goethe-Institut für Thema 12.12.2012

ZWisCHenÜBersCHriFt Solor assenis sitis doluptatia nonsedi doluptatios rernatum dolut a volor rat faccaest omnis mi, cuptaectat. Uptibea rchit, velit eum commo mint.

Bildunterschrift, sequatem late non nonseque velliti onsedios exeri dolores

Vielen DanK FÜr iHre aUFMerKsaMKeit

Goethe-Institut design and layout principles, April 2011

lÄnGere ÜBersCHriFt, Z. B. ZWeiZeiliG

KaPiteltrenner Des ZWeiten KaPitels. JeDes KaPitel WirD DUrCH eine eiGene FarBe GeKennZeiCHnet.

seite XY

Page 83

Goethe-Institut design and layout principles, April 2011

Page 84 Promotional articles Selection

Selection of promotional articles

selection The articles relate as far as possible to the activities of the Goethe-Institut or directly address the target group. For linguistic activities, all kinds of office accessories that every language student needs during courses are ideal: e.g. pencils and jotters. Other useful things that are suitable are also very popular with the target group: for example, coffee mugs, umbrellas or lanyards. Articles with inappropriate connotations should be avoided, e.g. elitist golf accessories or shot glasses.

Look The promotional articles are characterised by a clear-cut and simple design. Their shapes are neutral, e.g. square or round.

Goethe-Institut design and layout principles, April 2011

Look and form of promotional articles (stress ball as an example)

Page 85

Example of coffee mugs

Promotional articles Branding

How do we brand promotional articles? We observe the basic guidelines described in the sections Logo, Typography and Colour. Normally, promotional articles are decorated only with the Goethe-Institut logo without the slogan: the slogan may be employed as a standalone element without any direct connection to the logo. We prefer to set the composite logo version in white on coloured promotional articles. As an alternative, we can also use a green or grey logo, preferably set on a white background – this option is particularly suitable for articles such as jotters or notepads. The logo may also be displayed on high-quality, tasteful promotional articles in the same colour as the article when it is engraved or embossed, for example. The logo is normally centred horizontally and vertically on the promotional article. Should the article demand a different placement, we can be flexible (e.g. for T-shirts and jotters). The open logo may be used on promotional articles that show great similarity to classical print products, such as jotters and notepads.

Goethe-Institut design and layout principles, April 2011

Example of jotter

Page 86

Example of logo size

Promotional articles Logo

The logo size is not strictly specified We take the type, purpose and dimensions of the promotional articles into account when determining the appropriate size. We choose a size that displays self-confidence, rather than a flashy, format-filling size. We always use the composite logo version on promotional articles. A special exception is made in the case of very small promotional articles: for instance, we decorate pencils with the word mark only, due to lack of space.

Exception â&#x20AC;&#x201C; word mark only

Goethe-Institut design and layout principles, April 2011

Page 87 Promotional articles Examples

Examples of popular scatter items and promotional articles – Cotton bag – Bag – Mouse pad – Jotter – Paper bag – T-shirt – Luggage strap – Ballpoint pen – Pin/badge – Umbrella – Key chain – Mug – USB memory stick – Cap – Jotter

Goethe-Institut design and layout principles, April 2011

Page 88

Goethe-Institut design and layout principles, April 2011

Page 89 Templates

Templates make our work easier Templates are available for correspondence, presentations, ads, postcards, flyers and all the typical brochure formats.

Templates for internal use

Templates for external use

PowerPoint presentation

Brochures/flyers

GI_PowerPoint.ppt

GI_Brochure_DINA4_CMYK.indd GI_Brochure_Letter_CMYK.indd

Letter templates

GI_Brochure_DINA5_CMYK.indd

GI_Brief_mitLogo_A4.doc

GI_Brochure_DINlang_landscape_CMYK.indd

The in-house templates are used by staff members at the Goethe-Institut: stationery templates, presentation templates, etc. These are available in MS Word or PowerPoint formats.

GI_Brief_ohneLogo_A4.doc

GI_Brochure_DINlang_portrait_CMYK.indd

GI_Praesidentenbrief_mitLogo_A4.doc

GI_Postcard_Flyer_DINA6_landscape_CMYK.indd

GI_Praesidentenbrief_ohneLogo_A4.doc

GI_Postcard_Flyer_DINA6_portrait_CMYK.indd

The templates for external use are used by service providers, e.g. advertising agencies:â&#x20AC;&#x2030; InDesign CS3 templates for business stationery, brochures and ads.

GI_Fax_A4.doc