S TA N DA R DS MANUAL
S TA N DA R DS MANUAL
In the beginning people did not have fire. They were imperfect creatures who ate things raw: meat, vegetables, roots and wild fruit. No vegetables were cooked in the fire. They ate no prepared foods. Meat was not smoked, or roasted, it was dried. They hung it in the sun and ate it dry.
Those first people, because of their imperfection, shared their sad fate with the animals. Some lived in tree trunks, some in caves, some in holes; others had huts to shelter in; but they lived without fire to warm them or give them light to stave off the fear that comes in the dead of night. Maleiwa (the Wayuu creator god) was the only one who possessed fire. He had some burning stones that he jealously guarded in a grotto far from the reach of people. Maleiwa didn’t want to give fire to people because they lacked judgement. Instead of making good use of it they could use it in bad ways to set fire to the undergrowth, burn living creatures and hasten calamities. That’s why he kept it from them.
CONTENTS
1
2
The Land of Fire
Threads of a Legacy P.11
P.35
Introduction
p.14
The Brand
p.38
The Wayuu Clans
p.22
The Mood
p.44
The Wayuu Craft
p.30
3
Visual Identity P.47
The Emblem
p.50
On Dark Backgrounds
p.70
The Wordmark
p.52
Inadequate Usages
p.72
Anatomy
p.54
Dimension Parameters
p.7 6
The Signature
p.58
Color
p. 8 0
Mark Assembly
p.60
Typography
p.82
Mark Variations
p.66
Pattern
p.9 6
Clear Space
p.68
Stationery
p.100
The Land of Fire
1 13
INTRODUCTION
HANDMADE STANDARDS MANUAL
Wayuu (also Wayu, WayĂşu, Guajiro, Wahiro) is a Native American ethnic group of the Guajira Peninsula in northern Colombia and northwest Venezuela. WThe Wayuu are known as the people of the sun, sand, and wind. The Wayuu language is part of the Arawak family and is called Wayuunaiki.
The Wayuu inhabit the arid Guajira Peninsula straddling the Venezuela-Colombia border, on the Caribbean Sea coast. Two major rivers flow through this mostly harsh environment: the Rancheria River in Colombia and the El LimĂłn River in Venezuela representing the main source of water, along with artificial ponds designed to hold rain water during the rain season. The territory has equatorial weather seasons: a rainy season from September to December, which they call Juyapu; a dry season, known by them as Jemial, from December to April; a second rainy season called Iwa from April to May; and a long second dry season from May to September.
16
La Guajira Desert.
INTRODUC TION
THE L AND OF FIRE
Yonna , Wayuu Dance in Guajira.
17
HANDMADE STANDARDS MANUAL
On the Guajira Peninsula in Colombia, there are an estimated 270,414 Wayuu people living on 10,780 square kilometers of the peninsula. In Venezuela, there are known to be 725,128 Indigenous people
Caribbean Sea
residing in the country, with the Wayuu accounting for 58 percent of the total Indigenous population. The Guajira Peninsula in Venezuela forms part of the state of Zulia, with extensive mining taking place in the municipality of Guajira north of the Guasare River at Mina Norte, and to the south of the river in the
Venezuela
municipality of Mara, at Mina Paso Diablo.
South Pacific Ocean
18
Colombia
INTRODUC TION
THE L AND OF FIRE
La Guajira Peninsula
Venezuela
The scenery of Guajira is very picturesque; the temperature in the plains is very high, but temperate in the mountains. The region receives the flow of the trade winds from the northern hemisphere and forms along the northeastern coast of Venezuela and the Antilles.
19
HANDMADE STANDARDS MANUAL
A traditional Wayuu settlement is made up of five
personal belongings such Acrylic fiber made purses
or six houses that made up caseríos or rancherías.
or mochilas and ceramics to keep water. Living
Each ranchería is named after a plant, animal or
quarters can be either rectangular or semi-circular,
geographic place. A territory that contains many
and the rooftop is made up of dried cactus hearts.
rancherias is named after the mother’s last name
Traditionally, the walls are made out of yotojoro
because of the matrilineal structure of the Wayuu. – a wattle and daub of mud, hay and dried canes, The Wayuus congregate in rancherias are usually
but some of them have shifted towards a more
isolated and far from each other to control and
modern construction style, using cement and
prevent mixing of their goat herds.
other materials.
The typical house is a small structure called a
Close to the main house they erect a common
piichi or miichi, generally divided into two rooms
area, similar to a living room and called a luma or
where they hang hammocks to sleep and to keep
enramada, but almost in the open.
20
INTRODUC TION
THE L AND OF FIRE
Typical Wayuu RancherÃa
The Wayuu are known as the people of the sun, sand, and wind.
21
HANDMADE STANDARDS MANUAL
Built of six pillars and with a flat roof, it serves as
food or for wood can be seasonally high, the plant
a common area for everyday duties and to attend
population at times declines to a point where little
to visitors and business activities. Family members
fruit or cuttings for fences are available. It has thus
hang their hammocks in the room for the noon nap.
been proposed to develop techniques by which
The dagger cactus (Stenocereus griseus), which
proper crop.
the Wayuu can cultivate and tend the cactus as a the Wayuu call yosú, is the preferred source of roofing material and yotojoro wood. This plant is
The word Yotojoro originally referred to the cane-like
used for many other purposes: it can be planted to
inner wood of the yosú cactus. Given the varying
produce living fences around pastureland, and the
availability of sufficient yosú wood for construction,
young shoots are fed to goats. The fruit (iguaraya)
other plants are also utilized. These include trupillo
is edible and pitahaya-like and are a popular food
or turpío (Prosopis juliflora), jattá (Haematoxylum
among the Wayuu. Because the demand for yosú as
brasiletto), kapchip (Capparis zeylandica) and kayush.
The fruit (iguaraya) is edible and pitahaya-like and are a popular food among the Wayuu. 22
INTRODUC TION
THE L AND OF FIRE
23
T H E WAY U U C L A N S
HANDMADE STANDARDS MANUAL
According to a 1997 census in Colombia, the Wayuu population numbered approximately 144,003 – representing 20% of Colombia’s total Amerindian population and 48% of the population of the Department of La Guajira. The Wayuu occupy a total area of 4,171 square miles within approximately ten Indian reservations.
In Venezuela, the Wayuu population is estimated at some 293,777 individuals, according to the 2001 census, with some 60,000 living in the city of Maracaibo. This makes the Wayuu the largest indigenous group in Venezuela, representing 57.5% of the Amerindian population. Wayuu communities are not uniformly distributed within these territories as their population is concentrated primarily in the outskirts of such settlements as Nazareth and Jala’ala, on the plains of Wopu’muin and Uribia, and within the municipalities of Maicao and Manaure, where population densities are some of the highest in the peninsula. This irregular distribution is intimately related to seasonal changes in the weather.
24
THE WAYUU CL ANS
THE L AND OF FIRE
25
HANDMADE STANDARDS MANUAL
Families in the Wayuu culture are divided into clans, some of which are:
26
Aapushana or Walepushana
Friends Tied by Blood
Epieyu
Native of their Own Home
Siijuna
Their Tribe’s Mad Sentinels
Uriana
The Sneaky Eyes
Pausayuu
Keepers of Their Home
Juusayu
The Meeks of Altiviez Bravia
Jaya Aliyu
The Ones that are Always Ready
Pushaina
The Hot Blooded
THE WAYUU CL ANS
THE L AND OF FIRE
Ipuana
The Ones that live Above the Rocks
Wuliana
Uraliyuu
The Ones with Featherfull Anger
Uliyuu
The Ones of Paceful Steps
Epinayu
The Ones that Hit the Road
Jimuu or Jinuu
The Ones of Tick Tails
Woluwoouliyuu
Of White Color
Waliliyuu or Wouliyuu
The Ones of Light Feet
Ulewana
The Tracking Hands
27
You can not kill no Wayuu, It will be avenged, and your entire family will pay for It. Do not spill blood, as life is found there, If you spill It, take It back. Do not take what doesn’t belong to you, If you do, you will pay for it three times the damage you’ve caused.
T H E WAY Ăš U C R A F T
HANDMADE STANDARDS MANUAL
Some families rely entirely on crafts for their income. The Wayuu make all kind of handcrafted products for their own use as for trade. They buy yarn in bulk and subcontract work to their other families in advance. Some Artisans employ people to work for them at their house.
Wayuu artisans prepare the warp for a large hammock themselves, a skilled work not all Wayuu women can do. Some families sell their work to another Wayuu leaders (women) who collect crafts and sell them to travellers or send to the capital city. Girls for a early age learn craft techniques that are applied in the making of household goods: crocheting to make bags, embroidery to decorate the manta (dress) sprang (Egyptian pleating) and twigging for making a simple hammocks, and sometimes even to make pottery.
32
THE WAYÚU CR AF T
THE L AND OF FIRE
33
Threads of a Legacy
2
37
THE BRAND
HANDMADE STANDARDS MANUAL
Handmade is a brand that seeks to show to the world the rich culture of the Wayuu and all the unique products their land has to offer. In an collaborative effort to provide aid to this group while placing their unique craft into de market Handmade give back to the community 40% of all products bought all around the world.
By purchasing their products you are helping the wayuu clans to keep economical independence so they can preserve their cultural and historical heritage and distinctiveness from other populations. You are making a statement about indigenous people’s right to maintain their lifestyle and a peaceful and prosperous existence.
40
THE BR AND
THRE ADS OF A LEGAC Y
41
HANDMADE STANDARDS MANUAL
By purchasing their products you are helping the wayuu clans to keep economical independence.
42
THE BR AND
THRE ADS OF A LEGAC Y
43
Each Wayuu mother teaches her daughter how to weave and crochet, keeping the tradition as alive and vibrant as ever.
To the Wayuu, weaving is a symbol of wisdom, intelligence, and creativity. As young Wayuu women come of age, they learn to create Mochilas Wayuu bags. According to legend, the tradition comes from “Wale´kerü”, a spider that taught the women how to weave their creative drawings into the Wayuu bags. Each design incorporated into every Wayuu bag is unique to the weaver, telling a story through the bag’s colors, patterns and shapes. The weaver takes careful precision in her storytelling, making sure that the Mochila bag is a strong representation of Wayuu culture. Wayuu women work full days while weaving their Wayuu bags and can take up to a full month to complete one single bag. Today, Wayuu bags has become a means of financial support for the Wayuu people, which enables them to preserve their way of life.
THE MOOD
HANDMADE STANDARDS MANUAL
46
THE MOOD
THRE ADS OF A LEGAC Y
47
Visual Identity
3
49
THE EMBLEM
HANDMADE STANDARDS MANUAL
The logo was conceived by mixing two opposing ideas: the geometric nature of the patterns created by the wayuu for many of their crafts, and the idea of hands doing the work. As a result, de logo represents two hands coming together and forming a geometric seal.
52
THE EMBLEM
VISUAL IDENTIT Y
53
THE WORDMARK
HANDMADE STANDARDS MANUAL
54
THE WORDMARK
VISUAL IDENTIT Y
55
A N AT O M Y
HANDMADE STANDARDS MANUAL
56
ANATOMY
VISUAL IDENTIT Y
57
HANDMADE STANDARDS MANUAL
58
ANATOMY
VISUAL IDENTIT Y
59
T H E S I G N AT U R E
HANDMADE STANDARDS MANUAL
60
THE SIGNATURE
VISUAL IDENTIT Y
61
M A R K A S S E M B LY
HANDMADE STANDARDS MANUAL
A mark needs to be flexible enough to be applied across different media. This flexibility comes from restrictions that provide a framework from which the brand can be displayed at its maximum potential.
X=
4Y + 1/4Y
1Y + 3/4Y
Y = 4X Y= 5Y + 3/4Y
1Y 1Y + 1/2Y
62
MARK ASSEMBLY
VISUAL IDENTIT Y
Emblem Signature
Word Mark
63
HANDMADE STANDARDS MANUAL
64
MARK ASSEMBLY
VISUAL IDENTIT Y
65
M A R K VA R I AT I O N S
HANDMADE STANDARDS MANUAL
The logo can be used in three different versions, each will be more appropriate than the others depending on the format and context where its used.
Version 1: Emblem + Wordmark
68
MARK VARIATIONS
VISUAL IDENTIT Y
Version 2: Emblem Only
Version 3: Wordmark Only
69
CLE AR SPACE
HANDMADE STANDARDS MANUAL
The different variations of the mark require a specific clear area to avoid interference from other elements for proper displacement and identification. X= Y = 4X Y=
1Y (Clear Space)
70
CLE AR SPACE
VISUAL IDENTIT Y
1Y (Clear Space)
1Y (Clear Space)
71
ON DARK BACKGROUNDS
HANDMADE STANDARDS MANUAL
72
When there is the need to place the logo in dark or colored backgrounds here are the two examples on how the logo has to be used.
ON DARK BACKGROUNDS
VISUAL IDENTIT Y
73
I N A D E Q UAT E U S AG E S
HANDMADE STANDARDS MANUAL
74
In order to ensure the recognition of the brand there is a series of usages that are forbidden to avoid confusion on audiences.
INADEQUATE USAGES
VISUAL IDENTIT Y
Do not use drop shadows.
Do not skew.
Do not alter.
Do not displace.
Do not change color.
Do not outline.
75
HANDMADE STANDARDS MANUAL
76
INADEQUATE USAGES
VISUAL IDENTIT Y
Do not use bevel.
Do not use gradient.
Do not apply a transparency effect to the logo.
Do not use the logo in a horizontal lock up.
Do not add other elements.
Do not place the logo over colors other than specified.
77
DIM E N SION S PAR AM E TE R S
HANDMADE STANDARDS MANUAL
To make sure the logo is always clear and legible, there is minimum size require-
ABOVE
ments . The minimum size requirements vary depending on the width of the logo for every version. 5 CENTIMETERS
1 CENTIMETERS
0. 6 C E N T I M E T E R
78
DIMENSIONS PAR AMETERS
VISUAL IDENTIT Y
79
BRAND COLORS
HANDMADE STANDARDS MANUAL
82
Color is a critical element in creating a memorable and lasting identity. It can be used to link certain information, and to offer the viewer visual cues for continuity and/or differentiation. Using this color palette will lend consistency.
BR AND COLORS
VISUAL IDENTIT Y
HANDMADE FIRE
HANDMADE GOLD
PA N T O N E : 1 8 5 C
PA N T O N E : 6 1 7 C
HANDMADE STONE PA N T O N E : B L A C K C
C H A R C OA L
L I G H T C H A R C OA L
LIGHT GOLD
PA N T O N E : 4 2 5 C
PA N T O N E : 4 2 1 C
PA N T O N E : 74 9 9 C
83
TYPOGRAPHY
HANDMADE STANDARDS MANUAL
Type plays an important role in Handmade’s visual identity. It must be used consistently along with other visual elements to create and maintain the Handmade “look.” Fedra Sans will be the only one font that will be used alongside its variations for its style that works really good with the feel the brand emanates.
Fedra Sans was originally commissioned by Paris-based Ruedi Baur Integral Design and developed as a corporate font for Bayerische Rück, a German insurance company, as part of their new visual identity. According to the commissioner, the objective was to ‘de-protestantize Univers’, the typeface which Bayerische Rück had been using since Otl Aicher designed their first visual identity in the 1970s.
84
T YPOGR APHY
VISUAL IDENTIT Y
The most important criterion was to create a
the assumption that the font would be exclusive
typeface which works equally well on paper and
to the company and never publicly available. The
on the computer screen, and is consistent across
new version is more versatile, offering a wider
all computer platforms. The typeface attempts
range of fonts, a number of special typographic
to reconcile two opposing design approaches:
features. The spacing of the font was altered, as
rigidity of a typeface designed for the computer
well as the slope of the italics. Many characters
screen and flexibility of a handwriting.
were redrawn creating a more flexible type family.
After first versions of the typeface were completed and digitised, the project was cancelled as Bayerische Rßck was acquired by another even larger multinational corporation. This put an early end to the story of the custom font. Since a lot of work had been done already, we decided to complete the typeface, adding extra weights and expert fonts. Shortly before the planned release date of the typeface, the studio was broken into, and our computers and back-up system containing all the font data were stolen. What initially seemed like the ultimate designer’s disaster was actually beneficial for Fedra. The incident delayed its release, allowing us to reexamine the early design decisions, made under
85
HANDMADE STANDARDS MANUAL
S2qi→ FEDRA SANS PRO
LIGHT
!?&#$¢£ €¥ %‰( )*+
ab c d e fgh i j k lm n o p q r s t u v w x y z
@[ ]{ }ß Ω®©™← → A B C D EF G HIJK L MN O P QR S T U V W X Y Z ↖↗≈«»½¼ ¾Ø≠π√
86
0123 45 67 8 9
T YPOGR APHY
VISUAL IDENTIT Y
S2qi→ FEDRA SANS PRO
L I G H T I TA L I C
!?& #$¢£ €¥%‰( )*+
ab c d e fghijk lmn o p qr s tu v w x y z
@[ ]{ }ßΩ®©™← → A B C D EF GHIJK L MN O P Q R S T U V W X Y Z ↖↗≈«»½¼ ¾Ø≠π √
0 1 2 3 45 67 89
87
HANDMADE STANDARDS MANUAL
S2qi→ FEDRA SANS PRO
BOOK
!?&#$¢£€¥ %‰( )*+ ab c d e fg h i j k l m n o p q r s t u v w x y z @[ ]{ }ß Ω®©™← → A B C D EF G H I JK L M N O P QR S T U V W X Y Z ↖↗≈« »½¼ ¾Ø≠π√
88
0 123 45 67 8 9
T YPOGR APHY
VISUAL IDENTIT Y
S2qi→ FEDRA SANS PRO
B O O K I TA L I C
!?& #$¢£€¥%‰( )*+
a b c d e fg h ijk lm n o p q r s tu v w x y z
@[ ]{ }ßΩ®©™← → A B C D EF G H IJ K L M N O P Q R S T U V W X Y Z ↖↗≈«»½¼ ¾Ø≠π √
0 1 2 3 45 67 89
89
HANDMADE STANDARDS MANUAL
S2qi→ FEDRA SANS PRO
NORMAL
!?& #$¢£€¥%‰( )*+ a b c d e fg h i j k l m n o p q r s t u v w x y z @[ ]{ }ßΩ®©™← → A B C D EF G H I J K L M N O P QR S T U V W X Y Z ↖↗≈« »½¼¾Ø≠π√
90
0 1 23 4 5 67 8 9
T YPOGR APHY
VISUAL IDENTIT Y
S2qi→ FEDRA SANS PRO
N O R M A L I TA L I C
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0 1 2 3 4 5 67 8 9
91
HANDMADE STANDARDS MANUAL
S2qi→ FEDRA SANS PRO
MEDIUM
!?& #$¢£€¥%‰( )*+ a b c d e f g h i j k l m n o p q r s t u v w x y z @[ ]{ }ßΩ®©™← → A B C D EF G H I J K L M N O P Q R S T U V W X Y Z ↖↗≈« »½¼¾Ø≠π√
92
0 1 23 4 5 6 7 8 9
T YPOGR APHY
VISUAL IDENTIT Y
S2qi→ FEDRA SANS PRO
M E D I U M I TA L I C
!?&#$¢£€¥%‰( )*+ a b c d e fg h i j k lm n o p q r s t u v w x y z @[ ]{ }ßΩ®©™← → A B C D E F G H I J K L M N O P Q R S T U V W X Y Z ↖↗≈« »½¼¾Ø≠π √
0 1 2 3 4 5 67 8 9
93
HANDMADE STANDARDS MANUAL
S2qi→ FEDRA SANS PRO
BOLD
!?&#$¢£€¥%‰( )*+ ab cd e fghijklmnop qr s tu v w x y z @[ ]{ }ßΩ®©™← → ABCDEFGHIJKLMNOPQR STUV W X Y Z ↖↗≈«»½¼¾Ø≠π√
94
0 1 23 45 6789
T YPOGR APHY
VISUAL IDENTIT Y
S2qi→ FEDRA SANS PRO
B O L D I TA L I C
!?&#$¢£€¥%‰( )*+ a b c d e fg h i j k lm n o p q r s t u v w x y z @[ ]{ }ßΩ®©™← → A B C D E F G H I J K L M N O P Q R S T U V W X Y Z ↖↗≈« »½¼¾Ø≠π √
0 1 23 4 5 6 7 8 9
95
PAT T E R N
HANDMADE STANDARDS MANUAL
98
The pattern is an abstraction subtracted from different designs that the Wayuu people make across different pieces.
PAT TERN
VISUAL IDENTIT Y
99
HANDMADE STANDARDS MANUAL
100
PAT TERN
VISUAL IDENTIT Y
101
S TAT I O N E RY
HANDMADE STANDARDS MANUAL
102
STATIONERY
VISUAL IDENTIT Y
103
HANDMADE STANDARDS MANUAL
104
STATIONERY
VISUAL IDENTIT Y
105
HANDMADE STANDARDS MANUAL
106
STATIONERY
VISUAL IDENTIT Y
107
The Wayuu believe that the life cycle does not end with death, but that a relationship with one’s bones continues. Burials are very important. The relatives of the dead act in a certain way.
First, the cadaver is buried with personal belongings, and then, after five years, the bones are exhumed, put into ceramics or a chinchorro (hammock), and buried once again in the clan’s cemetery. The Wayuu have developed their own traditional music and instruments. Their culture directly associates economy and social life with music; such as in the case of raising cattle, in which the indigenous sang to their animals. They also used music for meetings and celebrations, as well as mourning in funerals. The Yonna is the traditional dance of the Wayuu and is used to honor guests. The Wayuus created many rustic musical instruments called Kashi, Sawawa (a type of flute), ma’asi, totoy and the taliraai (tubular flute), wootoroyoi (a type of clarinet), among others. In the Majayura, or ritual of the “young Wayuu virgin”, the female dances towards the male for marriage, while other males perform rhythms with their traditional instruments until the male tumbles onto the ground.
Desigend by Juan Manuel Corredor behance.net/juan_corredor juan.m.corredor.b@gmail.com Copyright Š2017 Juan Manuel Corredor The images in this book are used in accordance with the Creative Common License. This book is a non–commercial work produced as a student project for educational purposes, and as such is considered a derivative work under the Fair Use Clause of U.S. Copyright Law.