IDENTITY
The Logo
This is our Logo. It is our most important visual asset and should be the first choice when choosing a graphic element to represent our brand. The Logo consists of a Symbol and a Wordmark. The Logo, Wordmark and Symbol are important expressions of our brand identity.
They have each been carefully designed and constructed to achieve visual harmony.
Consistent use of our logo is key to retaining brand strength through immediate recognition of who we are and what we stand for as a brand. It is vital that they are always applied consistently They should never be altered, modified or redrawn.
The Symbol
Our symbol is shorthand for the brand. The symbol is symmetrical and balanced in harmony. Often it is the first image to introduce the brand, in use cases such as our App Icon or our Social Media Avatars.
Our identity is a persistent evolution of our brand and its services. The symbol represents the relationship between our brand and customers.
PROGRAM LOGO
Our branded program of giving needs a visual to be added to connect with other marketing to be reinforced.
PROGRAM LOGO
Our branded program of giving needs a visual to be added to connect with other marketing to be reinforced.
PROGRAM CREATIVE
Our branded program of giving needs a visual to be added to connect with other marketing to be reinforced.
PROGRAM CREATIVE
Our branded program of giving needs a visual to be added to connect with other marketing to be reinforced.
PROGRAM CREATIVE
Our branded program of giving needs a visual to be added to connect with other marketing to be reinforced.
PROGRAM CREATIVE
Our branded program of giving needs a visual to be added to connect with other marketing to be reinforced.
Logo Colour Options
The legacy Green Birch logo testing some alternate appraochable colors for consideration
Mono Logo Opt ons
Brand Co ors on White
Brand Co ors on B ack
Wh te on Surise Orange
B ack on Sunrise Orange
White & Grey on
Exclusion Zone & Minimum Size
The exclusion zone ensures legibility and impact of the Logo by isolating it from competing visual elements such as text and supporting graphics. With the exception of the branded elements or category line of business descriptors.
This zone should be considered as the ideal minimum safe distance, ensuring the Logo has plenty of room to breathe.
The exclusion zone is equal to half the height of the Logo (marked as x in the diagram)
If you are using the Symbol instead of the logo, the same exclusion rules apply. The Symbol's exclusion zone is half the height of the Symbol
Establishing a minimum size ensures that the impact and legibility of the Logo is not compromised in application.
Use the minimum sizes indicated over the page for small-scale applications of the Logo and Symbol.
Exclusion Zone
Primary Colour Palette
Secondary Colour Palette
Colour Weighting
Colour Combinations
Colour Usage Examples
Colour Misuse
Colour
Primary Colour Palette
Our brand is underpinned with a colour palette designed to be approachable, reliable, trustworthy and contemporary.
Different combinations of colour can dramatically change the tone and appearance of a document so it is important to consider how they work together.
To help achieve greater brand recognition, it is important that our colour palette is applied consistently.
The yellow as a highlight, subtle colour or CTA
Secondary Colour Palette
It’s important that our colours are as distinctive as the rest of our brand, but remain secondary to our signature colour, our single ownable brand colour.
All the colours in our secondary palette compliment our signature colour, and give us flexibility across all communications.
Our secondary colours are to be used in situations where multiple colours are needed. Strive to always keep our signature colour as the greatest value.
We also use these colours to highlight our business categories and as a way of wayfinding as needed.
In order to achieve a consistent look in branded communications, colours should be weighted towards the primary colour palette, with secondary colour palette supporting where appropriate.
Secondary Co our Pa ette
GUNSHOT GREY
SUNR SE ORANGE
GREATE WH TE
HARVEST YELLOW
REBEL YELL BLACK
STEEL BLUE
QUEBEC SUMMER GREEN
Colour Combinations
Our colours help bring our brand to life, so we should use a variety of combinations to keep it looking fresh.
Shown here are examples that should act as guidance on how we can use different colour combinations when building creative. Note that we should always lead with our signature colour and use other colours from our palette as accent colours. This will allow us to turn the volume up or down on our brand output. Colour Accessibi ity Never typeset; Green on Grey, B ue on Grey, brown on Grey or Black on Grey
Colour Usage Examples
These are examples of how our colour palette would be best applied to maintain consistency of look and feel on larger brand initiatives, moments and campaigns.
BLUEE & WHITE ON GREEN
ORAGNE
YELLOW
Colour Usage Examples
These are examples of how our colour palette would be best applied to maintain consistency of look and feel on larger brand initiatives, moments and campaigns.
YELLOW
GREY
YELLOW
Colour Usage Examples
These are examples of how our colour palette would be best applied to maintain consistency of look and feel on larger brand initiatives, moments and campaigns.
ORAGNE ON WHITE
ORANGE
Colour Usage Examples
These are examples of how our colour palette would be best applied to maintain consistency of look and feel on larger brand initiatives, moments and campaigns.
Colour Usage Examples
These are examples of how our colour palette would be best applied to maintain consistency of look and feel on larger brand initiatives, moments and campaigns.
BLUE
YELLOW
Primary Typeface
Typeface Weights
Type Hierarchy
Type Specimen
Print Longform Hierarchy
Digital Hierarchy
Type Misuse
Typography
Primary Typeface
Our primary typeface is Gotham. We use it everywhere possible. It is simple, clean and legible typeface that compliments our logo. Asa geometric sans-serif, it is bold and modern, classic and approachable
Works as functional typography across digital platforms and print materials
Secondary and alternate we want to keep our communications consistent across platforms so the light use of
A ternative Typefaces
In situations where t is not possible to use Moderat, Arial can be used We only use it when Moderat s not avai ab e, such as Google Docs or MS PowerPoint, Word or Outlook. This avoids any incompatibi ity issues when documents are sent out to third parties who do not have Moderat. It ensures documents are seen as we intend them Do not use Arial on professionally designed materia s such as brochures and signage.
Typeface Weights
Our brand uses five weights from the Gotham family: Thin, Regular Book, Medium, Bold and Bold Italic.
Such a versatile family offers various solutions from book design to poster design, from brand signage systems and more.
Light, Regular and Medium can be used for body text, headings and captions Medium, Bold and Black are used for headings.
Thin Regular Medium
Handwritting
ABCDEFGHIJ abcdefghijklm 1234567890
ABCDEFGHI abcdefghijkl 1234567890
ABCDEFGH abcdefghijk 1234567890
Bold Black
ABCDEFGH abcdefghijklmnopqrstuvwxyz 1234567890#&$%@!?*
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890#&$%@!?*
Type Specimen Samples
This is an example of the typography in use. For ads, banners with messaging and other applications where shortform copy is being used, follow the guidelines here to create a hierarchy for how information is displayed.
Large head
The quick brown fox j the lazy dog.
Introducing a uncompromising brand ded innovating beyond our customers expecta into the details to make sure when we wr line is interesting and well formated.
Short headline
The quick brown fox jumps ove the lazy dog.
ntroducing a uncompromis ng brand ded cated to nnovat ng beyond our customers expectat ons We get nto the deta ls to make sure when we wr te body text each l ne s nterest ng and wel formated
We curate curate and del ver tools that help you bui d your bus ness, move people wh le growing together
Print Longform Hierarchy
In cases where there may be branded print material that includes longform copy, use the following combinations of Gotham Medium, Helvetica Neue LT Pro to create a hierarchy of information
We want to co remarkable hu
Our mission is to create & curat build, move and grow your life a Respo
Clean clear and conscise
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No one can touch this innovation
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The challenge
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We create products are tested in our labs that are safety tested and are the highest possible performance
FOUNDER
We are in both english and french and depending on the application ensuring we are congruent with the language we are using
Growing Commercial Financing
Growing
Primary
Growing Your Commercial Financing Results
Secondary
GrowingYourCommercialFinaancingResults
GreenBirchCapital
Primary
GrowingYourCommercialFinaancingResults
Secondary
Usage
Pr mary tagl ne that can be connected under the brandmark
GrowingYourCommercialFinaancingResults
Usage
Not to be attached to the brandmark. Can and on y used seperate y as a headl ne or on its own.
GrowingYourCommercialFinaancingResults
Photography
Mood Boards
Stylescapes
Icons
Shapes
Patterns
Secondary Design Elements
Imagery
Photography
Like our brand voice, all photography direction is based on being approachable, creatively presented with a hint of “we do it our way”
Persona’s Relatable, human, warm, yet professional
Should feel documentary style where you are capturing a moment in time.
and Far Away
Product Brochures
When we need loads of whitespace on documents but want a hint of we can use the “ bamboo” on the far right of the document
Primary color using the kubota Red with the sunrise orange on those specific presentations with their products.
Business Cards
It is recommended that business cards be printed on premium uncoated paper stock, with a minimum weight of 300gsm.
Specifications
Size 1: 90mm x 55mm
Size 2: 85mm x 55mm
Size 3: 89mm x 51mm
Stock: Uncoated 300gsm, White
Colour: Purple & Black
All of the above sizes reflect the same margins.
Letterhead
The A4 sized Letterhead is the paper size recommended for use in most countries.
The Letter sized Letterhead is the paper size recommended for use in most applications.
It is recommended that letterhead be printed on premium uncoated paper stock, with a minimum weight of 100gsm.
Specifications
A4: 210mm x 297mm
Letter: 215.9mm x 279mm (8.5" x 11") Stock: Uncoated 100gsm, White Colour: Black (mono)
Letter Size
Choose Da e
Name] Address l ne 1 Address l ne 2
Dea Name
Body of Le er
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Rega ds
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Pos on
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Envelopes
It is recommended that envelopes be printed on a premium uncoated paper stock, with a minimum weight of 120gsm.
Specifications
DL: 220mm x 110mm
DLX: 229mm x 169mm
C5: 229mm x 162mm
C4: 229mm x 324mm
Stock: Uncoated 120gsm, White
Colour: Black (mono)
Thankyou Cards
It is recommended that thankyou cards be printed on a premium uncoated paper stock, with a minimum weight of 120gsm.
Specifications
A4: 210mm x 99mm
Stock: Uncoated 120gsm, White
Colour: Black (mono) thankyou!
Thanky
ICON TEST
Sample application of creative use
Sample application of creative use
Sample application of creative use
Sample application of creative use
Persona’s
Value Proposition
Elements of Value
Brand Archetypes
Brand Attributes
Moodboards
Persona’s
Brand Persona’s
The core of all we do is for humans and knowing the unique needs of our brand persona’s is paramount.
We want to understand how they think (head) what they love and value the most (heart) and what would motivate them to connect, buy and engage with us? (motivation)
We look beyond demographics we are looking for their priortized human needs, their fears, and their problems that we can solve uniquely
Gaining an insight both individually and the patterns collectively help us match our brand to our ideal audience.
PERSONA OVERVIEW PROCESS
/ METHEDOLOGY
Persona’s
The core of all we do is for humans and knowing the unique needs of our brand persona’s is paramount.
We want to understand how they think (head) what they love and value the most (heart) and what would motivate them to connect, buy and engage with us? (motivation)
We look beyond demographics we are looking for their priortized human needs, their fears, and their problems that we can solve uniquely
Gaining an insight both individually and the patterns collectively help us match our brand to our ideal audience.
Persona’s
The core of all we do is for humans and knowing the unique needs of our brand persona’s is paramount.
We want to understand how they think (head) what they love and value the most (heart) and what would motivate them to connect, buy and engage with us? (motivation)
We look beyond demographics we are looking for their priortized human needs, their fears, and their problems that we can solve uniquely
Gaining an insight both individually and the patterns collectively help us match our brand to our ideal audience.
Persona’s
The core of all we do is for humans and knowing the unique needs of our brand persona’s is paramount.
We want to understand how they think (head) what they love and value the most (heart) and what would motivate them to connect, buy and engage with us? (motivation)
We look beyond demographics we are looking for their priortized human needs, their fears, and their problems that we can solve uniquely
Gaining an insight both individually and the patterns collectively help us match our brand to our ideal audience.
Persona’s
The core of all we do is for humans and knowing the unique needs of our brand persona’s is paramount.
We want to understand how they think (head) what they love and value the most (heart) and what would motivate them to connect, buy and engage with us? (motivation)
We look beyond demographics we are looking for their priortized human needs, their fears, and their problems that we can solve uniquely
Gaining an insight both individually and the patterns collectively help us match our brand to our ideal audience.
