01.
ABOUT CONFERENCE
T H I N K (I N) V I S U A L C O M M U N I C AT I O N CONFERENCE – LOGOBOOK
Think (in) visual communication Interantional Conference 9th – 13th Dec. 2014, Warsaw
Identity design: Hanna Grabowska hannagrabowska.com http://issuu.com/hanna_ grabowska Hanna Stano hannastano.pl
03.
IDEA
About conference eunic in cooperation with NInA (National Institute), Copernicus Science Center in Warsaw, Polish-
One event: Think(in) visual communication includes...
Japanese Institute of Information Technologies in
... four theme blocks (1, 2, 3, 4) as groups of interconnected elements, theories, opinions, views and experience.
Warsaw and the Academy of Fine Arts in Katowice organize the international conference ‘Think(in) visual communication’ which takes place in Warsaw from 9 th to 13 th December 2014. The focus of the 2-day conference, following three days of workshops,
#1
is the broad field of: intellectual processes behind visual language, theoretical and experimental methods
participat e in thinking
of graphic design problem-solving, teaching thinking in design and creative processing. The general subject: Think(in) visual communication has been divided into four groups of various topics: participate in thinking – designing with user-generated – content, user influence on designer’s brain/ abilities of our brains/visualization of thinking/deadends in design thinking.
Think(in) visual communication
#4 dead-ends in
design thinking
Think(in) visual communication
visualizatio n of thinking
#3
abilities of #2 our brains
05.
IDEA
Lectures Each category features speakers, marked on the axis of coordinate system, in the place corresponding to the category they present in (defined by the consecutive letters of the alphabet).
#1 participate in thinking
#2 abilities of our brains
a. Olafur Eliason b. Anna Machwic c. Christoph Niemann d. Beryl McAlhone, David Stuart e. Marcin Wichrowski
a. Douwe Draaisma b. Antonio Damasio c. Daphne Bavelier d. Nigel Cross
#3 visualization of thinking
#4 dead-ends in design thinking
a. Marek Kultys b. Brody Neuenschwander Michel Gondry Walter Bohatsch Hano Depner
a. Timo de Rijk b. Tim Brown / Mariusz Wszołek c. Oliviero Toscani d. Charis Tsevis e. Jean-Michel Geneste
07.
IDEA
09.
IDEA
11.
IDEA
13.
IDEA
15.
IDEA
Final identity Interconnected, all the figures constitute a definite image – the final identity for the conference. The character of figures enables creating the interlecture spots: presenting the time lapse and providing information on the next speaker and category they present in.
e d c b a e
d
c
b
a a a b
b
c
17.
LOGO ANIMATION
Final identity Animation which shows how conception works.
19.
FINAL LECTURERS ID ANIMATION
21.
TIMEL APS LOGO ANIMATION
23.
CONSTRUCTION
The grid construction Construction of the image, supported by the aforementioned coordinate system, enables making a circle-based grid. The circles result from connecting successive points in the coordinate system, and their base measure is the distance between two points ("a" width and height)
6a 5a 4a 3a 2a a
a
2a 3a 4a 5a 6a
25.
CONSTRUCTION
lecturer’s id construction The above is a base for the following ids representing particular speakers (here on uniform-color background)
a 1/2 a
1/2 a a
a
a
1/2 a
1/2 a
1/2 a
1/2 a a
2a
27.
CONSTRUCTION
a
a a
1/2 a
a
a 2a
2a a
a 2a
2a
29.
CONSTRUCTION
a
a 2a
2a
2a
2a
a
3a
3a
2a
2a
3a
31.
CONSTRUCTION
4a
4a
2a
a
2a
2a 3a
5a
2a
2a 3a
3a
33.
CONSTRUCTION
5a
5a
2a
3a
2a
4a 3a
5a
2a
5a 3a
3a
35.
ID CONSTRUCTION
logo on grid
logo + typography on grid Typography for the identity has been placed on the grid, however, it is not written into it. This solution helps maintain readability and clarity of typographic qualities of the typefaces selected. The details behind image scaling in reference to typography can be found on the relevant page.
Think(in) visual communication
5a
International Conference 9th – 13th Dec. 2014, Warsaw
2a
5a
5a 3a
3a
5a
2a
37.
ID CONSTRUCTION
id construction for each lecturer along with typography on the grid Application of lecturer’s ID along with typography. Each lecturer’s ID maintains a defined protective field (uniform gray background) irrespective of its size. The name and surname, along with the category, should be set at the distance equal the proportion of a single square of the grid (“a” height) and start at the logo’s symmetry axis. The size of typography has been defined by setting a capital letter in the square of the height equal the relevant “a” base size.
5a
3a
5a
3a
5a
5a
2a
Olafur Eliason participate in thinking
2a
a a a
Beryl McAlhone David Stuart participate in thinking
a a 1,5a a
39.
CLEAR SPACE
Protective field for logo Irrespective of logo's size within the gray basic module). The minimum clear space around a logo. Do not allow any graphic elements into the protective field area.
Protective field for logo with typography Protective field The minimum clear space around a logo. Do not allow any graphic elements into the protective field area.
Think (in) visual communication Interantional Conference 12th – 14th Dec. 2014, Warsaw
basic module
protective field
41.
CLEAR SPACE
Protective field of lecturers' IDs Irrespective of logo's size within the gray basic module). The minimum clear space around a logo. Do not allow any graphic elements into the protective field area.
Examples: Protective field of lecturers' IDs (irrespective of logo's size within the gray basic module + the proportional distance in relation to typography)
Beryl McAlhon e David Stuart participate in thinkin g
basic module
protective field
43.
ABOUT CONFERENCE
Minimum size The minimum size is 10.1mm (4a) in print, 35px on screen, measuring the height of a logo. Use the largest possible size of a logo at all times.
4a 10,1 mm
Minimum sign size which allow us to add additional information
Think (in) visual communication
5a 1,5 mm 3,25 cm
3,25 cm
4a 35 px
Think (in) visual communication
5a 40 px
45.
COLOR
Basic identity colors
Monochromatic versions
The logo’s coloring stands for knowledge, edification, perfection and indestructibility. The black color symbolizes intelligence. Use gold PANTONE color pallet whenever possible, otherwise use CMYK.
In case only one color printing is available there are two possibilities options black or gold.
Alternatives, screen colors
CMYK
Think (in) visual communication
Think (in) visual communication
International Conference 12th – 14 th Dec. 2014, Warsaw
International Conference 12th – 14 th Dec. 2014, Warsaw
C: 20
M: 30 Y: 70 K: 15
C: 0
M: 0
Y: 0
K: 100
PANTONE PANTONE 872 C K: 100
C: 0
M: 0
Y: 0
K: 100
R: 0
G: 0
B: 0
872 C
PANTONE Process Black EC
Process Black EC
RGB
Think (in) visual communication International Conference 12th – 14 th Dec. 2014, Warsaw
C: 20
M: 30
Y: 70
R: 180 G: 151 B: 90 PA N TO N E 872 C
K: 15
R: 180
G: 151
B: 90
R: 0
G: 0
B: 0
47.
BACKGROUND
Logo on the backgrounds The Think(in) visual communication logo is to be used in the following color configurations in relation to the background: a white logo with dark gray, photography, background; a black logo with gold background; a gold logo with black background; the basic gold and black logo with white background.
Think (in) visual communication International Conference 12th – 14 th Dec. 2014, Warsaw
Think (in) visual communication International Conference 12th – 14 th Dec. 2014, Warsaw
Think (in) visual communication International Conference 12th – 14 th Dec. 2014, Warsaw
Think (in) visual communication International Conference 12th – 14 th Dec. 2014, Warsaw
Think (in) visual communication International Conference 12th – 14 th Dec. 2014, Warsaw
49.
T YPEFACE
Akzidenz Grotesk Font Family The Think (in) visual communication identity primary typeface is Hermann Berthold’s Akzidenz Grotsek .
ABCDEFGHIJKLMNOPRSTUV WZ abcdefghijklmnoprstquv wzx 1234567890 Akzidenz Grotesk Light
ABCDEFGHIJKLMNOP RSTUV WZ
ABCDEFGHIJKLMNOPRSTUV WZ
abcdefghijklmnoprstquv wzx
abcdefghijklmnoprstquv wzx
1234567890
1234567890
Akzidenz Grotesk Bold
Akzidenz Grotesk Medium
ABCDEFGHIJKLMNOPRSTUV WZ
ABCDEFGHIJKLMNOPRSTUV WZ
abcdefghijklmnoprstquv wzx
abcdefghijklmnoprstquv wzx
1234567890
1234567890
Akzidenz Grotesk Regular
Akzidenz Grotesk Italic
51.
T YPEFACE
Georgia – supplementary typeface When is impossible to use Akzidenz Grotek it is recommended to use supplementary Georgia typeface.
ABCDEFGHIJKLMNOPRSTUVWZ
ABCDEFGHIJKLMNOPRSTUVWZ
abcdefghijklmnoprstquvwzx
abcdefghijklmnoprstquvwzx
1234567890
1234567890
Georgia Regular
Georgia Italic
ABCDEFGHIJKLMNOPRSTUVWZ
ABCDEFGHIJKLMNOPRSTUVWZ
abcdefghijklmnoprstquvwzx
abcdefghijklmnoprstquvwzx
1234567890
1234567890
Georgia Bold
Georgia Bold Italic
53.
ADDTIONAL MATERIALS
ORGANIZER
LECTURER
Natalia Nowak
Beryl McAlhone David Stuart
technical support
participat e in thinking
WARSZAWA
WARSZAWA
55.
ADDTIONAL MATERIALS
57.
ADDITIONAL MATERIALS