Handmade Standards Manual

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 Ranchería

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 RĂźck 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

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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

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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.