Enron Rebranding | Engineering the Future | 03 Visual Standards Guide

V I S U A L S TA N DA R D S G U I D E

ENGINEERING THE FUTURE

V I S U A L S TA N DA R D S G U I D E

03 ENGINEERING THE FUTURE

I am not afraid of an army of lions led by a sheep; I am afraid of an army of sheep led by a lion. —Alexander the Great | King of the Ancient Greek kingdom of Macedonia.

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CONTENTS

08

DISTINCTION

10

1.2 Mark Assembly

12

1.3 Mark Proportions

14

1.4 Mark Variations

18

1.5 Clear Space

24

1.6 On Dark and Colored Background

26

1.7 Inadequate Usages

32

1.8 Dimensions Parameters

34

COMPLETION

38

2.1 Color

40

2.2 Typography

42

2.3 Stationery

48

CHAPTER

CHAPTER

1.1 Our New Mark

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EXTENSIONS GUIDE

DISTINCTION 1.1 OUR NEW MARK 1.2 MARK ASSEMBLY 1.3 MARK PROPORTION 1.4 MARK VARIATIONS 1.5 CLEAR SPACE 1.6 ON DARK AND COLORED BACKGROUND 1.7 INADEQUATE USAGES 1.8 DIMENSIONS PARAMETERS

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OUR NEW MARK

1.1

OUR NEW MARK 1.1

11

The lion as a symbol of power and authority, fits perfectly to represent a more confident attitude. Enron comes back as a stable, solid company with limitless potential. Contained in Its sturdy shape, there is the power to conquer it all.

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MARK ASSEMBLY

1.2

INSIGNIA

WORDMARK

SIGNATURE

M A R K A S S E M B LY 1 . 2

13

Known as regal beasts, it’s comes to no surprise that symbolic meaning of lions deals with: strength, determination, conquest, pride and authority.

However, many are unfamiliar with the symbolic meaning of lions dealing with resurrection and conversion. Newborn lions were once believed to be born dead, and only came alive when the father passed its breath upon them.

African aboriginal legends state that the lion never closes its eyes when it sleeps.

This provides symbolism of cunning, strategy, intelligence, protection and wariness.

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MARK PROPORTION

1.3

It was previously shown on “The Visual Development Manual� (Book 2) that the logo and logotype were built based on several small squares. To avoid confusion for the number of components that built the mark, the proportion has been simplified using a bigger unit of measurement based on the initial one. This is possible thanks to the symmetrical nature of the mark.

MARK PROPORTION 1.3

X=

15

Y = 6X Y=

4Y

4Y

45째

Y

Y

Y

Y

Y

Y

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MARK VARIATIONS

1.4

The new logo will have four different versions in which It can be displayed depending on the media. Each version will be more appropriate than the other depending on scale, material of reproduction and context.

VERSION 1 | SIGNATURE: VERTICAL LOCK UP

VERSION 2 | SIGNATURE: HORIZONTAL LOCK UP

M A R K VA R I AT I O N S 1 . 4

VERSION 4 | WORDMARK

19

VERSION 4 | INSIGNIA A

VERSION 5 | INSIGNIA B

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There is an additional version for special circumstances. When the logo mark needs to be reduced to a size smaller than one centimeter the eye of the lion gets almost completely lost. In those cases, another version must be used.

The logo mark S has been designed with a bigger eye, so when is reduced that much, the lion can keep its appearance. This secondary version must not be used for bigger sizes than one centimeter, owing to the fact that the lion would look distorted.

M A R K VA R I AT I O N S 1 . 4

VERSION 4 | INSIGNIA A

21

1 CM

VERSION 5 | INSIGNIA B

1 CM

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This is an example of the logomark S being used as a more appropriate alternative for this application.

M A R K VA R I AT I O N S 1 . 4

23

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CLEAR SPACE

1.5

A mark needs to be flexible enough to be incorporated across different media.

This flexibility ironically depends on the restriction you impose to It. In other words, you need the right restrictions to be flexible. Keeping that idea on mind Enron’s new logo will have a defined clear area that must be respected in all cases to ensure a appropriate display of the mark.

X= Y = 6X

WORDMARK

Y=

Y INSIGNIA

Y

CLE AR SPACE 1 .5

SIGNATURE | VERTICAL LOCK UP 25

Y SIGNATURE | HORIZONTAL LOCK UP

Y

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ON DARK AND COLORED BACKGROUNDS 1.6 There will be moments in which the logo will be used on a dark or colored surface. For those instances the logo will have specific restrictions on how to be displayed. Anytime the logo faces a dark background, the Enron’s Ruby version will be used instead. If the background is saturated with a bright color, then the full Enron’s Onyx will take its place.

VERSION 1 | SIGNATURE | VERTICAL LOCK UP

VERSION 2 | SIGNATURE | HORIZONTAL LOCK UP

ON DARK AND COLORED BACKGROUND

1.6

VERSION 3 | WORDMARK 27

VERSION 4 | INSIGNIA A

VERSION 5 | INSIGNIA B

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In view of the fact that some materials will make difficult to use the color versions of the logo on a dark background, a white version may be used, only if no other option is suitable.

ON DARK AND COLORED BACKGROUND

1.6

29

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INADEQUATE USAGES

1.7

To ensure immediate recognition the mark should always be displayed in its originally designed form with the specific parameters imposed to It. All this restrictions need to be followed to maintain a cohesive visual system despite the wide number of usages the mark will encounter.

It is of extreme importance to avoid using the mark improperly which could damage the image of the company and create noise and confusion.

I N A D EQ UAT E U S AG E S 1 . 7

33 DO NOT USE DROP SHADOW

DO NOT SKEW

Do not add a drop shadow to the mark.

Do not change the orientation of the mark.

DO NOT ALTER Do not deform the mark.

DO NOT MISPLACE

DO NOT CHANGE OF COLOR

DO NOT OUTLINE

Do not change the position of the logotype.

Do not use any color not specified on the manual.

Do not outline the mark in any color.

DO NOT USE BACKGROUND

DO NOT ADD BEVEL EFFECT

DO NOT USE GR ADIENT

Do not add an image as background for the mark.

Do not add any effects to the mark.

Do not add any gradient to the mark.

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VERTICAL LOCK UP 34

DIMENSIONS PARAMETERS

1.8

1M

5 CM

1 CM

0.8 CM

DIMENSIONS PAR AME TERS 1 .8

HORIZONTAL LOCK UP

INSIGNIA A

INSIGNIA B

WORDMARK 35

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COMPLETION 2.1 COLOR 2.2 TYPOGRAPHY 2.3 STATIONERY

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COLOR

2.1

Enron’s colors were chosen to represent the new spirit of the brand. A brand with more energy and dynamism, while keeping solid and sober colors to balance the overall look.

E NRON RUBY P M S | 192 C / 711 U / 206 M C M Y K | 0, 100, 70, 0 R G B | 237, 24, 71 H E X | #ED1846

E NRON ON Y X P M S | 412 C / Neutral Black U C M Y K | 10, 15, 15, 90 R G B | 56, 50, 50 H E X | #373231

COLOR 2.1

41

NEON Y E L L OW

DA R K G R E Y

L IG H T G R E Y

P M S | 2297 C / 389 U / 608 M

P M S | 424 C / 2334 U / 427 M

P M S | 427 C / Cool Gray U / 430 M

C M Y K | 25, 0, 100, 0

C M Y K | 0, 0, 0, 70

C M Y K | 0, 0, 0, 20

R G B | 203, 219, 42

R G B | 109, 110, 113

R G B | 209, 211, 212

H E X | #CADB2A

H E X | #6D6E70

H E X | #D1D2D4

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TYPOGRAPHY

2.2

Aabg/38+ Prometo Prometo is a sans serif display typeface based on a grid, with

made in 2012. Primarily for display use, Prometo is proud to

a square design that is instantly recognizable. The attention

make the most of its features and comes in fourteen weights

to detail and skillful craftsmanship in this font family really

and styles. This font family works well in signage, titles, and

shine through.

billboards, or for communication that needs something stylish with a clarity of purpose and message.

Prometo has an industrial feel, as if it has been built rather than drawn. The initial design concept was developed by the design team in our Brazil office, with the first sketches being

TYPOGRAPHY 2.2

43

LIGHT AaBbCcDdEeFf GgHhIiJjKkLlMmNn O o P p Q q R r S sT t U u V v W w X x Yy Z z 1234567890 ! ? & # $¢£€ % ( ) @

R EG U L A R AaBbCcDdEeFfGgHhIiJjKkLlMmNn O o P p Q q R r S sT t U u V v W w X x Yy Z z 1234567890 ! ? & # $¢£€ % ( ) @

MEDIUM AaBbCcDdEeFfGgHhIiJjKkLlMmNn O o P p Q q R r S sT t U u V v W w X x Yy Z z 1234567890 ! ? & # $¢£€ % ( ) @

BOLD AaBbCcDdEeFfGgHhIiJjKkLlMmNn O o P p Q q R r S sT t U u V v W wX x Yy Z z 1234567890 ! ? & # $¢£€ % ( ) @

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Aabg/38+ Halcom A modern sans serif typeface inspired by the historic geometry’s

correctness. The result is a distinctively modern geometric

of the 1920’s, specifically Futura. The design is not a simple

font family that is strikingly simple in design yet perfectly

pastiche of what went before this is much more than that. It is

pleasing to the readers eye. Details include 550 characters with

a close investigation to how Futura inspired other type designs

an alternative lowercase a, g and y, five variations of numerals,

like Avenir and helped push the boundary of what is a modern

manually edited kerning and Opentype features.

typeface of its generation. Overlaying perfect geometric shapes careful adjustment is made for each character and each corner to a point of balance between pure mathematics and optical

TYPOGRAPHY 2.2

45

LIGHT AaBbCcDdEeFfGgHhIiJjKkLlMmNn O o P p Q q R r S sTt U u V v W w X x Y yZ z 1 23 4567890 ! ?&# $ ¢£€ % ( )@

R EG U L A R AaBbCcDdEeFfGgHhIiJjKkLlMmNn O o P p Q q R r S sT t U u V v W w X x Y yZ z 1234567890 ! ?&# $ ¢ £€ % ( ) @

MEDIUM AaBbCcDdEeFfGgHhIiJjKkLlMmNn O o P p Q q R r S sT t U u V v W w X x Y yZ z 1234567890 !?&# $¢£€%( )@

BOLD AaBbCcDdEeFfGgHhIiJjKkLlMm Nn O o P p Q q R r S sT t U u V v W w X x Y y Z z 1234567890 !?&# $¢£€%( )@

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Aabg/38+ Mercury Text The product of nine years’ research and development, Mercury

Mercury Text was designed in a series of grades, sibling members

Text is a family of high-performance text faces designed to thrive

of a type family which share the same underlying geometry, but

under the most adverse conditions.

offer different degrees of darkness on the page.

Mercury’s compact proportions and clear gestures would naturally

Its proportions were fine-tuned to suit those of the news column

reproduce well in small sizes, and we imagined that its spiky

(offering space-saving advantages in any setting) and its styles

geometry and taut curves could make text sparkle.

were remastered with common editorial functions in mind.

TYPOGRAPHY 2.2

47

ROMAN A a B b C c D d E e F f G g H h I i J j K k L l M m Nn O o P p Q q R r S s T t U uV v W wX xY y Z z 1 234567890 !?&#$¢ £€%( )@

SEMIBOLD A a BbCcDd EeF fGgH h Ii JjK k LlMm Nn O o P p Q q R r S s T t U uV v W wX xY y Z z 1 2 3 45 6789 0 !?&#$¢ £€%( )@

BOLD AaBbCcDdEeFfGgHhIiJjK k LlMmNn O o P p Q q R r S s T t U uV v W wX xY y Z z 1 2 3 456789 0 ! ?&#$¢ £€%( )@

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STATIONERY

2.3

S TAT I O N E R Y 2 . 3

49

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S TAT I O N E R Y 2 . 3

51

Know thy self, know thy enemy.

A thousand battles, a thousand victories. —Sun Tzu | Chinese General, Military Strategist, and Philosopher.

All content for Enron Visual Standards Guide was collected, conceived, written and design

by Juan Manuel Corredor: www.juanmcorredor.com www.behance.net/juan_corredor juan.m.corredor.b@gmail.com

D E S I G N C O N S U LTAT I O N

Hunter Wimmer, GR 604 Nature of Identity Academy of Art University.

COPYR IGHT ﾂｩ2016 JUAN MANUEL COR R EDOR

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