Choo's Brand Book by Jacopo Pompilii

Corporate identity development for a new restaurant chain â&#x20AC;&#x201D; Jacopo Pompilii Diploma Accademico di primo livello Comunicazione dâ&#x20AC;&#x2122;impresa Prof. Michel de Boer A.A. 2011/2012

an d

ob gl

ro d

l, a

lo k in th

d fo o tte r be

ta ne w di

ov er

e ad r-m ilo ta

aw ar en

st es

e ic rv se

u en m st om cu

fo l

lo w

ca re

fo r

tra di

tio

en vi

ro n

en t

Brand personality â&#x20AC;&#x201D; The Power Of Choice

YOU

choose what to eat

can make the difference

â&#x20AC;&#x201D; Proposal by HEXAGON Team, with Greta Castellana, Annabel Faustin, Davide Giorgetta, Francesco Valerio Panatta and Marcello Russo.

Brand personality — Naming

Choo’s

— The name aims to emphazise the unique selling point of the restaurant: the client has the power to customize all the food experience. Instead of using the english word choose, choo’s has the same sound, but looks like a multi-cultural word, and the final –‘s gives a much more personal feeling, like a sense of belonging. Proposal by HEXAGON Team, with Greta Castellana, Annabel Faustin, Davide Giorgetta, Francesco Valerio Panatta and Marcello Russo.

Brand personality — What Is This About

It’s not about big names and posh clients. It’s about the link between you and Choo’s.

— The whole communication is based on a one-to-one speech, with a friendly tone of voice, very persuasive and appealing. It’s a straight link between who speaks — the restaurant — and who listens — the client. We’re talking about food and the unique experience the client gets when plays with the ingredients; there’s no need of cold and fancy language. The direct tone makes stronger the idea of power of choice, because everything relies on the client. It’s all up to you and what you choose.

Logo — Basic

— The slash has an orientation of 34°, and represents both a slice of a knife, and the line of a division, of a choice: this vs that, you vs the other, A or B. The same concept is expressed by the use of a shade with two opposite colors. — The word Choo’s is splitted into two lines, and the two letter “o” are sliced by the slash. These cutted “o” recall also a sense of union between the client, the restaurant and the client itself (see the starting concept).

Logo â&#x20AC;&#x201D; Construction and Safe Space

Logo — Acceptable Variations and Reductions

— Black monochrome, white monochrome, grey monochrome.

Logo — Unacceptable Variations

— Do not use grey scale from a shade.

— Do not use a solid color.

— Do not rotate the logo.

— Do not change the shade.

— Do not use background color similar to the logo.

Logo — Alternate Version

CHOO’S.

— This typographic version appears in headlines which use the word “choo’s” at the end of the sentence. It has to be at the very bottom line of the headline. Don’t forget to put a period after it. — Other usages of this version are allowed when using only the slash as a decorative form (i.e.: business card), or the word appears in a pattern (i.e.: envelope inside). — Do not use shades or other colors, only grey scale is allowed (i.e.: patterns). — Please use only the corporate font (see related page to learn more about it), with uppercase letters. Few exceptions are allowed, like in envelope addresses, but be sure “CHOO’S.” is written with uppercase letters.

Logo — Colors Variations

SEATTLE

TURIN

BOSTON

BANKOK

SYDNEY

108° W

36° W

36° E

— The shade of the logo changes depending on the longitude of the restaurant, in a range of 5 different combinations.

108° E

Logo — Colors Specs

C 37 M 100 Y 73 K 0 R 170 G 24 B 59 #AA183B

C 96 M 62 Y 12 K 72 R 0 G 35 B 67 #002343

C 0 M 65 Y 90 K 0 R 236 G 117 B 39 #EC7527

C 74 M 0 Y 12 K 42 R 0 G 124 B 147 #007C93

C 48 M 0 Y 100 K 0 R 154 G 192 B 8 #9CC008

C 0 M 90 Y 70 K 0 R 229 G 52 B 64 #E53440

— All shades are set with an angle of -34 degrees.

Typography — Primary Font: FV Almelo Usage: headlines, logo, word-patterns.

FV ALMELO FV Almelo 18 pt, caps only —

AbcdefghiJKlMNopQrstuvWwxYzĲ! À Ä Â Å È É Ê Ë Ì Ñ Ø Ö Ú Ý ? @ & _ £ $ € 0 1 2 3 4 5 6 7 8 9 < | { [ ( # : ; * % + = -

FV Almelo 36 pt, caps only —

AbcdefghiJKlMNop QrstuvWxYz!?@&_ £ $ € 0 1 2 3 4 5 6 7 8 9 < | { [ ( # : ; * % + = -

Typography — Secondary Font: Geogrotesque Usage: stationery, bodycopy, menu, website elements.

Geogrotesque AaBcCc123 Geogrotesque Regular, 24 pt —

abcdefghijklmnopqrtuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ àáâãäåèéêëìíîïñòóõöùúûüýÿšž ÀÁÂÃÄÅÈÉÊËÌÍÎÏÑÒÓÔÕÖÙÚÛÜÝŠŽ Geogrotesque Light, 12 pt —

Geogrotesque Medium, 12 pt —

Geogrotesque Bold, 12 pt —

abcdefghijklmnopqrtuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ àáâãäåèéêëìíîïñòóõöùúûüýÿšž ÀÁÂÃÄÅÈÉÊËÌÍÎÏÑÒÓÔÕÖÙÚÛÜÝŠŽ fifjflffffiffjffl 0123456789

Design program — How to use straplines

THE BEST KIPPER LASAGNA WITH COCONUT RAGù YOU’LL EVER CHOO’S.

— Straplines are widely used into the CHOO’S design program: they’re perfect in advertising, but they’re suitable for other areas too. There are few main elements which have to appear in order to keep the right feeling.

Design program — How to use straplines

THE BESt KIPPER LASAGNA WITH COCONUT RAGù YOU’LL EVER CHOO’S.

— LAYOUT Always use the corporate font FV ALMELO, caps only. Straplines have always to be aligned to the left, with very short lines of text (see example), very short line spacing and a period at the end of the sentence. If the name CHOO’S is used, be sure to put it at the very end of the strapline, on the last line of text.

Design program — How to not use straplines

THE BESt KIPPER LASAGNA WITH COCONUT RAGù YOU’LL EVER CHOO’S.

— Always align at the left.

THE BESt KIPPER LASAGNA WITH COCONUT RAGù YOU’LL EVER CHOO’S.

— Do not use large line spacing and long lines of text.

Design program — How to not use straplines

THE BESt KIPPER LASAGNA WITH COCONUT RAGù YOU’LL EVER CHOO’S.

CHOO’s THE BESt KIPPER LASAGNA WITH COCONUT RAGù.

— Always use FV ALMELO font.

— Use the word CHOO’S only at the very end of the strapline.

Design program — How to use straplines

THE BEST KIPPER LASAGNA WITH COCONUT RAGù YOU’LL EVER CHOO’S.

— TONE OF VOICE Straplines have always to use a witty and appealing language. Word jokes using typical expressions related with food are welcomed, but be sure they’re translated properly. Always use a one-to-one communication, and try to emphazise it using ‘you’ when possible. When using ingredients or food, try to create strange mixes, and avoid standards: the message has to shake and shock a little bit the viewer; the custom aspect of the restaurant has to be very clear. Also make a large use of adjectives which describe food: salty, spicy, boiled, roasted, fried, tasty, juicy, etc. Replace the word “choose” with “CHOO’S” only if it’s at the end of the strapline, and don’t abuse of it.

Design program — How to not use straplines

THE BEST CHICKEN WITH CURRY YOU’LL EVER CHOO’S.

CHOO’S A HEALTY MENU FOR YOUR KIDS. COME VISIT choo’s.

— Don’t use standard and basic kind of food.

— Don’t abuse of CHOO’S and use always appealing straplines.

Design program — Some examples of good straplines

THE BEST SPICY GUACAMOLE WITH ITALIAN PESTO YOU’LL EVER CHOO’S.

HOW CAN YOU CHANGE THE WORLD WITH A SPOON OF CUMIN?

— Nice mix of ingredients.

— Make the customer feel part of the experience.

Implementation designs — Letterhead

turin, april 15th 2013

— The Subject of the mail should have the same tone of voice of the straplines. The second paper keeps only the logo on the same position.

the restaurant with those terrific pesto noodles you fell in love with when in paris. now openinG in your district.

—

Dear Mr Margiela,

SUBJECT AND DATE: FV Almelo 18/20 pt

I am honored to be with you today at your commencement from one of the finest universities in the world. I never graduated from college. Truth be told, this is the closest I’ve ever gotten to a college graduation. Today I want to tell you three stories from my life. That’s it. No big deal. Just three stories. The first story is about connecting the dots. I dropped out of Reed College after the first 6 months, but then stayed around as a drop-in for another 18 months or so before I really quit. So why did I drop out? It started before I was born. My biological mother was a young, unwed college graduate student, and she decided to put me up for adoption. She felt very strongly that I should be adopted by college graduates, so everything was all set for me to be adopted at birth by a lawyer and his wife. Except that when I popped out they decided at the last minute that they really wanted a girl. So my parents, who were on a waiting list, got a call in the middle of the night asking: “We have an unexpected baby boy; do you want him?” They said: “Of course.” My biological mother later found out that my mother had never graduated from college and that my father had never graduated from high school. She refused to sign the final adoption papers. She only relented a few months later when my parents promised that I would someday go to college.

Piazza Castello, 29 10100 — Torino (TO) Italia t. +39 011 279 6459 f. +39 011 279 6460

And 17 years later I did go to college. But I naively chose a college that was almost as expensive as Stanford, and all of my working-class parents’ savings were being spent on my college tuition. After six months, I couldn’t see the value in it. I had no idea what I wanted to do with my life and no idea how college was going to help me figure it out. And here I was spending all of the money my parents had saved their entire life. So I decided to drop out and trust that it would all work out OK. It was pretty scary at the time, but looking back it was one of the best decisions I ever made. The minute I dropped out I could stop taking the required classes that didn’t interest me, and begin dropping in on the ones that looked interesting.

CONTACT INFO: Geogrotesque Medium 9/11 pt

Implementation designs — Letterhead construction

turin, april 15th 2013

the restaurant with those terrific pesto noodles you fell in love with when in paris. now openinG in your district. Dear Mr Margiela, I am honored to be with you today at your commencement from one of the finest universities in the world. I never graduated from college. Truth be told, this is the closest I’ve ever gotten to a college graduation. Today I want to tell you three stories from my life. That’s it. No big deal. Just three stories. The first story is about connecting the dots. I dropped out of Reed College after the first 6 months, but then stayed around as a drop-in for another 18 months or so before I really quit. So why did I drop out? It started before I was born. My biological mother was a young, unwed college graduate student, and she decided to put me up for adoption. She felt very strongly that I should be adopted by college graduates, so everything was all set for me to be adopted at birth by a lawyer and his wife. Except that when I popped out they decided at the last minute that they really wanted a girl. So my parents, who were on a waiting list, got a call in the middle of the night asking: “We have an unexpected baby boy; do you want him?” They said: “Of course.” My biological mother later found out that my mother had never graduated from college and that my father had never graduated from high school. She refused to sign the final adoption papers. She only relented a few months later when my parents promised that I would someday go to college.

Piazza Castello, 29 10100 — Torino (TO) Italia t. +39 011 279 6459 f. +39 011 279 6460

It wasn’t all romantic. I didn’t have a dorm room, so I slept on the floor in friends’ rooms, I returned coke bottles for the 5¢ deposits to buy food with, and I would walk the 7 miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on. Let me give you one example: Reed College at that time offered perhaps the best calligraphy instruction in the country. Throughout the campus every poster, every label on every drawer, was beautifully hand calligraphed. Because I had dropped out and didn’t have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can’t capture, and I found it fascinating. Yours sincerly,

JOnaThan PIerCe ChOO’s sTOre manager

vi ary y up rdin y so ic r sy rao zipp xot G in ext ty nG e ipImplementation designs zzl a sty y tas zzli wh st — d a ry oi y fro ilk d s Letterhead construction a y m rae y s G e s c e i ch arl sted hee vin uic ext ed d ke nG G roa ed c upy ted j oo’s inat a c li ed k yr or h ar ary a c c i z c s l t s d a daz ick tic ich as ke ot m din sonG i m l ro esy ily p oma ed r red d ba cy h raor ppy ozz icy a a r d i r er tte ze e i xt d e h che t o a z a c y i d a G d y y e s e ema ed r ed mois art lay h bu e Gl ma ty ast lin ere e h m er e lpy res ns ome ros kyt azz lay utak icy h c o y h la tic ju d pu y f inte d h ic f sil y d lpy h b y e d l l l rl ed ees pu s ar a y l o lp om ted Gri ted dr inG e o c r a t h ed y f— ineG a ry th u ar or s y G c n p e a k i y v of the papers has oa-pattern made with adjectives describing back ed mmy ass estiv mar dina soo fla umm d ro aked rinat y dr The h y p in which “CHOO’S.” logo appears. ld alternate u red d f hot aor ppy otic d y kle ic c ma nar yrufood, o y r c Ga x pe pic at ot rdi h s d tte aze cy xtr zi y e k y roa u Gl de i y e sty inG hip ily rom y h ao ric a m l b f a zzl y w st o y a e ic xtr ed h nse ma d tic yum led t t s e o r d i y r r e e a t k e d e o r c e a int hom lic f d silk esy d ineGa cy mo hear mem osty lay butt G ex ippe y pic mati taold gar aste che py v d jui illed ld ho ic fr ulpy esh zzlin y wh t oil aro silky y c r da ar ois rd ed ees y l dp y my ro ked ru te Gr co f r a y y m u led ca h s sor ive aky y G ate dr esy ineG cy m trao ast d ch rup y s st fl mm rin ry he y v jui ex o ke y ilky d ick atic ric a r s e c a y p rom ered ered ed f linG d yu t ma rdin ked yrup ted oo’s kled ic ca rich ed s zl i o d a ay utt laz azz pe ho ao a h s sor ch pic mat red ast da c p y i l or lpy sh b se G sy d wh e ic extr atic ric d as aked oily aro aye d ro eesy py pu y fre inten chee Gary emad sty arom ered ere ed b oist ord lpy l ickle d ch syru dr inG aked vine hom c fro rty y lay h butt Glaz icy m xtra d pu ily p cake ich ju ’s e nate st o tic ed r oth tic c rupy cold arli d hea pulp fres ense a er o ri i g o o m t y a e d y y h o y l m a y m h s lak m ril ate dr G in c a r m y l a d c m ric ed f d yu ive G arin ary thin red bake y hot jui ord ulpy ter ippe fest ot m ordin y soo laye zed de ic rted xtra ed p wh zed icy h xtra zipp resh e Gla ema asso ked e rinat Gla made ty e sty ry f tens d hom ered d ba t ma d in l e ta tt ze ho os

m. (+61] 04569 322 977 www.choos.com.au

j.pierce@choos.com @jpierce

t. [+61] 02 9211 9122

Implementation designs — Business card SUSHI PANCAKES EATER

STORE MANAGER carlo cracco

JONATHAN PIERCE

CHOO’S TURIN EXECUTIVE CHEF

CHOO’S SYDNEY STORE MANAGER

t. (+39) 011 567 898 790 m. (+39) 347 56 78 125

t. [+61] 02 9211 9122 m. (+61] 04569 322 977

c.cracco@choos.com @cracco

j.pierce@choos.com @jpierce

www.choos.com.au t. [+61] 02 9211 9122 730-742 George Street, Haymarket NSW 2000 Sydney, AU

t. (+39) 011 89 45 987 Piazza Castello, 29 10100 Torino (TO) Italia

CHOO’S.

SUSHI PANCAKES EATER

KIPPER LASAGNA LOVER

JONATHAN PIERCE CHOO’S SYDNEY STORE MANAGER EXECUTIVE CHEF joe bastianich t. [+61] 02 9211 9122 CHOO’S BOSTON EXECUTIVE CHEF m. (+61] 04569 322 977 m. +1 555 768 342 j.pierce@choos.com @jpierce j.bastianich@choos.com @joeb

t. (+39) 011 89 45 987 Piazza Castello, 29 10100 Torino (TO) Italia

CHOO’S.

KIPPER LASAGNA LOVER

— carlo cracco NAME ANDTURIN JOBEXECUTIVE POSITION: CHOO’S CHEF FV Almelo 12/12 pt executive chef CONTACT INFO: Geogrotesque 7.5/9 pt

joe bastianich

t. (+39) 011 567 898 790 m. (+39) 347 56 78 125 c.cracco@choos.com @cracco

CHOO’S BOSTON EXECUTIVE CHEF

m. +1 555 768 342

t. (+39) 011 89 45 987

j.bastianich@choos.com @joeb

c.cracco@choos.com @cracco

CHOO’S.

m. +1 555 768 342

t. (+39) 011 567 898 790 m. (+39) 347 56 78 125

CHOO’S.

— joe bastianich EXECUTIVE CHEF Size:CHOO’S 90×60 mm. The front shows alongside of the job position BOSTON EXECUTIVE CHEF a funny singularity of the person.

CHOO’S TURIN EXECUTIVE CHEF

www.choos.com

SUSHI PANCAKES EATER NOODLES HAMBURGER EATING CONTEST WINNER

KIPPER LASAGNA LOVER

carlo cracco

627 Tremont Street Boston, MA USA Street, 730-742 George Haymarkett.NSW 2000 236-7879 +1 (617) Sydney, AU www.choos.com t. [+61] 02 9211 9122

executive chef

t. (+39) 011 567 898 790 m. (+39) 347 56 78 125 c.cracco@choos.com @cracco

CHOO’S.

STORE MANAGER carlo cracco CHOO’S TURIN EXECUTIVE CHEF

www.choos.com.au

SUSHI PANCAKES EATER

www.choos.com

j.pierce@choos.com @jpierce

CHOO’S.

t. [+61] 02 9211 9122 m. (+61] 04569 322 977

730-742 George Street, Haymarket NSW 2000 Sydney, AU

JONATHAN PIERCE CHOO’S SYDNEY STORE MANAGER EXECUTIVE CHEF

j.bastianich@choos.com @joeb

www.choos.com t. +1 (617) 236-7879

CHOO’S.

PED

M UM

Shop G01 Capitol Square 730-742 George Street Haymarket NSW 2000, Sydney AU

Implementation designs — Envelope

OLD Mr. Martin Margiela 463 West St New York NY 10014-2010 USA

YOU’VE GOT MAIL.

— The front of the envelope has only the slash and a witty claim on the bottom left.

Implementation designs — Envelope

Y NG I D L E Y ZZ ICY R PP I A A C D I L H G D H D D L D W Y ADE RIC GAR ERE LE Y CO VINE ERE ING S L Y I E H D R R A HE MEM ERE MMY BUTT LKY E G FLAK UPY BUTT OOT G C E O I V D S Y U ESH D S STI TIC SYR SH Y IC IN E LD H LA Y V K P E A E D E O C CO LPY PE Y FR AST D F EX ICH FR ZIP XOT UPY C I T AKY D PU HIP DR RO AZE ING ED R DRY STY E E SYR A GA ICH OM C FL ATE RY W ARY LED E GL AZZL YER ARY Y TA R A OTI R ED N EGA DIN ICK ENS Y D I LA DIN SILK D R P E Y X A R T R E T M VIN AO ILY INT EES ULP AOR ED Y R E LD O G Y O S O R H T R N G Y A P S O I C H RUP EXT ICY HIN ED C ED EXT OAS HEE Y L D AS TH ING Y K L P O T T U R A C E K L Y Y L S OST ED J SOO CA RINA STY LED ED U ER Y SO AZZ F P C O TI RY FR SORT IPPY ATIC T MA C FR PICK C CAK ATED BUTT ZIPP ESY D O X AS TY Z AROM Y HO ARLI OILY MATI ARIN RESH ASTY CHE LPY ING E NEGA TAS ARTY DE IC MY G OIST ARO OT M DRY F KY T AKED ED PU AZZL PY VI U R HE MEMA D YUM ICY M AKED ICY H ARY D SIL RTY C INAT Y S H HO IPPE ED JU ED B MADE RDIN ASTE HEA MAR D C I R Z T O E O H D E T O A R K A E D L W SO R G OM XTR LED RILL ICY H PCA ERE H E S I LAY A E NS O L D Y E I C K E G D E H W P T INT KY C ROS OILY ESTIV EMA ARY ULPY FLA RLIC F OIST ED F D HOM VINEG ED P GA ICY M GLAZ COL UPY RINAT JU ENSE FLAKY SYR T MA C INT OTIC RICH Y HO ARLI EX ERED DE IC MY G Y MA YUM — A L The alternate logo appears on the back andEon the inside. D M HO IPPE WH

M UM

Implementation designs — iPad menu card

When food and fingers don’t mean only appetizers.

— CHOO’S TOUCH MENU is an iPad based app which helps customers choosing their menus, or learning more about the recipes previously created on www.choos.com.

Implementation designs — iPad menu card

— If the client didn’t make any reservations on the website, choosing the right menu among so many ingredients may require too much time. The interactive menu allows to build a customized menu or picking an existing one.

Implementation designs — iPad menu card

— The app understands customer’s likes and dislikes with a short number of a/b questions and suggests a list of dishes, so the customer can view all the choices at a glance.

Implementation designs — iPad menu card

— Users can choose between the most popular menus created by previous customers on choos.com or by the restaurant staff. Each menu is designed as a magazine, so users can learn more about what they’re going to eat.

Implementation designs — Website

— CHOO’S.COM allows users to book their food experience, create their own menu and learn more about the restaurants. The website is very focused into social content, with a deep integration with facebook and other networks (i.e.: Pinterest, Foodspotting).

Implementation designs — Animated logo (storyboard)

— In this bumper, there’s the same layout as the business card front. There are two opposite concepts related to the restaurant, with both food and experience themes. At the end the CHOO’S logo appears, hiding the rest.

— Watch the wireframe video on http://youtu.be/PKXfTNBbgps, or scan the QR Code on the right.

Made with QRHacker.com

Implementation designs — Animated logo (storyboard)

— In this alternate bumper, there’s a strapline with the ingredients changing in loop with a fast movement, and at the everything disappears but the CHOO’S logo.

— Watch the wireframe video on http://youtu.be/7ci_bwD2CN0, or scan the QR Code on the right.

Made with QRHacker.com

Implementation designs â&#x20AC;&#x201D; Restaurant Sign

â&#x20AC;&#x201D; The restaurant sign is composed by a neon light with the form of the logo. The lights are colored as the shade of the restaurant ID.

Implementation designs — Use of photography in billboards

— Photography adds a deeper message, taking the mixing value of the identity to a next level: the strapline states something completely far from the imagery suggested by the picture. If the strapline doesn’t have the word CHOO’S at the end of it, the official logo appears on the bottom right, in the negative version (depending on the picture). — Always use pictures related with food, avoid stock images and fashioned photos: remember what CHOO’S is about.

Implementation designs — Use of photography in billboards

— It’s also possible to combine two different images, dividing them using the same angle of the slash, which is always at the center of the composition. The images have to represent both different cultures and different types of food, mixing them with the ingredients of the headline. When designing all these kind of billboards, keep in mind their destination, because the shocking effect depends on the viewers’ culture: use for istance Chinese people in Turin, Italian food in Australia, etc.

Implementation designs — Unacceptable usage of images

— The picture is too dramatic, and there are very few elements related to the food. There’s lack of the logo too.

— Bad composition: there’s no food, and it’s not clear the link between the ingredients and the two characters.

Implementation designs — Flags

THE BEST KIPPER LASAGNA WITH avocado sauce YOU’LL EVER CHOO’S.

— Flags use the same straplines, filling up all the width available. Use the shade related to the restaurant for the background.