template

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Thinking

inside inside

the box.

AIGA identity and branding guidelines.

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Why is it important to build a strong, appropriate, consistent AIGA brand?

To gain greater recognition and respect for the AIGA, and to ensure that the AIGA receives credit for all its actions and activities.

To increase perception of the AIGA as the undisputed leader in supporting and promoting excellence in design.

To build greater public awareness of and respect for design.

To promote the value of professional graphic design.

To attract new members.

To retain the members we have.

To gain greater ďŹ nancial support for the organization.

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Identity and branding…why worry?

Is our logo our brand?

The key

Whether we want to be or not, we are a brand.

We’re out there—and our members and others are continually forming opinions about us.

Those opinions will be positive, negative or ambiguous. We need to participate actively in influencing those opinions.

Our logo is a thing—it identifies us on objects and in environments. In and of itself, it doesn’t say a whole lot about the AIGA or graphic design. As beautiful or unique as any logo may be, it remains essentially inanimate. Without being placed onto or into something, it has very little meaning.

The key to successfully branding the AIGA is individual responsibility.

We can choose to be either visible or invisible.

We can either ensure we get credit for the things we do, or we can do good things and risk getting no credit for them. We can work to be either understood or chance being misunderstood. We can become perceived as either a good brand or a bad brand; a clear brand or a confusing brand; a helpful brand or an irritating brand; a responsible brand or an irresponsible brand. It’s up to us.

Branding starts when the identifier is placed into an environment.

When our logo is placed into positive environments that reflect our goals, values and initiatives, our organization will be wellrepresented and our desired messages delivered. Placed into a poor or inappropriate environment, the logo may only serve to misrepresent or confuse our goals, values and initiatives, and may reflect negatively on the organization.

By the same token, an environment, action, product or service may be spectacular, but without displaying our identifier it may afford us little or no credit for our efforts.

All those involved in creating AIGA communications, environments and initiatives— designers, writers, the creators of products or services, the editors, the proofreaders— must be personally responsible for ensuring that the positive attributes of the organization are embodied in every effort; that the members and audiences are being well served; that the organization is getting credit for all its efforts.

This cannot be accomplished merely with an identity manual or systematic branding guidelines. It can only be achieved with thoughtful, intelligent, creative efforts by thoughtful, intelligent, creative people.

We must program, write, design and deliver all that we do according to who we say we are.

And then we must ensure that we are credited for all we do by clearly identifying the AIGA and the local chapters on everything we produce, every service we offer, every initiative we initiate, every environment we create.

Our visual identity—our logo and supporting elements—identifies us. It says who we are.

Our brand is the activation and manifestation of our goals, initiatives, mission and values. It demonstrates what we are, and why we are.

The purpose of our branding program is to evoke an appropriate emotional response from the viewer by embodying—within all our messages and actions—the positive emotional characteristics of the organization.

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Our name We actually have two names: our official name– American Institute of Graphic Arts—and our “casual” name, the AIGA. There is no “The” in front of American Institute of Graphic Arts, and no periods within AIGA. Chapters also have both a formal and a casual name. For instance, Salt Lake City’s official name is “American Institute of Graphic Arts, Salt Lake City Chapter,” while its casual name is “AIGA Salt Lake City.” Official names are used primarily in signatures and address blocks (see page 4).

The official name

Casual names are used “conversationally,” in text or in headings. While they may be used freely, they may never substitute for official names.

The casual name

Casual names should always be typeset in a single typeface and weight—never emphasizing any portion of the name. In the past, a diagonal slash between “AIGA” and the chapter location was required, but this is no longer the case.

American Institute of Graphic Arts

AIGA

“Casual” chapter names

Examples of official names:

AIGA New York AIGA Salt Lake City

American Institute of Graphic Arts St. Louis Chapter

AIGA Indianapolis

American Institute of Graphic Arts Boston Chapter American Institute of Graphic Arts Colorado Chapter Examples of casual names: AIGA Los Angeles AIGA Richmond AIGA Philadelphia

2

Incorrect

AIGA/Nebraska AIGAMinnesota

Pittsburgh

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The AIGA logo In honoring our past, our new logo retains the spirit of the previous identifier designed by Paul Rand. But because the old logo had a tendency to become lost among accompanying type and graphics, the new logo carries with it a bold background—a box that gives it more presence in cluttered environments.

The positive version of the logo may be placed on any color background as long as the “box” shape is defined and the “AIGA” reverses.

The letterforms have been redrawn, respaced and fattened for greater legibility. They cannot be replicated with any existing typeface and must never be modified.

On page 7 of these guidelines is a palette of 24 colors selected to support AIGA communications. It is preferred that the logo be reproduced in one of these colors, or in black or gray. The large logo shown here is reproduced in “National Blue,”which is similar to PANTONE® 5415C. The letters “AIGA” within the box are always reproduced as a reverse—they should never be reproduced as a positive. An outline version of the logo is available for use on black or very dark backgrounds. The outline allows the logo box to be defined while still reversing the AIGA letters to white.

The logo should be prominently displayed on all AIGA communications. This doesn’t mean it needs to be large—just recognizable.

The reverse or “outline” version of the logo is for use on medium and dark-colored backgrounds.

Imaginative use of the logo is encouraged.

Rather than having the logo simply placed on communications as an afterthought, an effort should be made to integrate and activate the logo within communications.

Electronic artwork for both the positive and reverse logos is available on the web at www.aiga.org/common/chapters/ chapter_info.htm.

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Signatures

Formal signature

The ratio of the width of the logo to the width of the name is 3 units to 8 units. The name is positioned below the logo so that the “I” of “Institute” aligns flush left with the logo. The distance between the bottom of the logo and the top of the “I” in “Institute” is equal to the height of the “G” in “Graphic.”

Formal chapter signature

The second line of a signature is centered below the first. The leading to the second line is equal to the distance from the base of the logo to the base of the first line of the name.

Every communication produced by the national office or a chapter should have a signature somewhere on it.

A signature is the combination of an official name and the logo. Casual names (such as AIGA Oklahoma) are reserved for “conversational” use and should never be combined with the AIGA logo (see page 2).

The national or chapter official name does not necessarily need to be placed next to or below the logo to constitute a signature, but the two should be somehow visually related. The viewer should be able to understand that the “AIGA” of the logo means “American Institute of Graphic Arts,” and that this particular communication is from the “[Location] Chapter.”

There are two types of signatures: formal and informal.

A formal signature is the combination of the logo with the official national or chapter name set immediately below in Filosofia Italic, upper- and lowercase.

Formal signatures are used for all stationery items, including letterheads, envelopes, mailing labels and business cards, and can be used on other items whenever appropriate.

x

x

When a formal signature is used within an address block, all copy with the exception of “American” aligns flush left with the logo.

Formal signature in an address block

Electronic files for reproduction of the formal signature are available at www.aiga.org/ common/chapters/chapter_info.htm.

American Institute of Graphic Arts

Baltimore Chapter

100 East Pratt St. 4th Floor

Baltimore, MD 21202-1009

www.aigabalt.org

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Informal signatures are also the combination of the logo and the official national or chapter name, but may be typeset in any font appropriate to the communication on which they appear.

Examples of informal signatures

American Institute of Graphic Arts Jacksonville Chapter

Informal signatures and address blocks may be used on any promotional or informational communication other than stationery and business cards, and national office business forms.

American Institute of Graphic Arts, Seattle Chapter

Examples of informal signatures in address blocks

American Institute of Graphic Arts 164 Fifth Avenue NewYork, NY 10010

american institute of graphic arts los angeles chapter 444 n. larchmont blvd. los angeles, ca 90004 www.aigalosangeles.org

Incorrect

The chapter “casual” name should never be combined with the logo to form a signature.

AIGA Chicago 855 West Blackhawk Street Chicago, Illinois 60622

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Type There are two families of type that should be used for all “permanent” AIGA materials, including stationery, business cards, forms, membership cards and signage: Filosofia and Interstate. These typefaces may also be used wherever else they may be appropriate, but chapter promotional materials and publications are not limited to these fonts and should be produced in the typefaces that are most appropriate to the subject matter being presented.

Both of these type families are available for PC and Macintosh. Filosofia is available from Emigre Fonts (www.emigre.com).

Interstate is available from Font Bureau (www.fontbureau.com).

Filosofia Regular

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Filosofia Italic

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Filosofia Bold

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Interstate Black

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Interstate Light

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Interstate Light Condensed

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abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890

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Color palette In the past, our official colors were black, gray, red and green. No more. The new color for national is a slate teal, and now there’s also a 24-color palette from which chapters can pick their own personalized color or color combination.

The colors shown on this page are similar to the PANTONE® color standard numbers below each. However, the colors shown throughout this manual have not been evaluated by Pantone, Inc. for accuracy and may not match the PANTONE® Color Standards.For accurate color standards, refer to the current edition of the PANTONE® Color Formula Guide.*

5855 C

4515 C

142 C

5777 C

Any combination of colors in the palette can be used when producing print or electronic communications. However, the use of these colors for materials other than stationery is not mandatory.

325 C

5483 C

479 C

459 C

5493 C

652 C

5125 C

711 U

697 C

149 C

5415 C

465 C

716 U

5497 C

5487 C

4715 U

451 C

646 C

696 U

279 U *PANTONE® is a registered trademark of Pantone, Inc.

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Logo variations The “box” of the logo doesn’t always need to be a solid outline black, blue, red, green or purple square. Nor does it need to be isolated from other type and graphics as is the case with many other logos.

The logo can become an object, a photo, an illustration, part of a pattern, or combined with text or image. It can be animated and made into art. The idea is to have fun—but be responsible.

Make sure the proportions and integrity of the box remain accurate and that it still “reads”as the logo.

The rules regarding the positive and reverse logos found on page 3 still apply. The letters “AIGA”are always reproduced as a reverse out of any background—never as a positive.

Na conscient ti ipito hossaggl factatum neirbo et nitsu poen legum odio que civiud neque pecun modut est non et imper ned soluta no bis elignet iptio modut congue nihi est impedit religuard odio que odio retsam cupiditat, quas mulla est praid omumd antet prehenderits ni volup tate velit esse ensoluta or

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Chapter print communications Integrate and activate the logo. Have it relate to and perform with the other visual elements of a print communication.

It can be very small or very large, subtle or bold, but it should always be recognizable. The logo can serve as an endorsement on a graphic communication, or as a graphic itself.

Be u te t it

of Graphic Arts A tla nt ha p te

r

Am eri ca n

s In

000 ot 2 Sh st

a aC

AIGA A tla nt

And remember, the environments into which the logo is placed will have greater inuence on how the viewer regards the AIGA than the logo itself will ever have.

The examples shown here and on the following spread are recreations of existing communications and are for demonstration purposes only.

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nd ce er s ur t co igi Ut ut r . m vita iam , t am ni s m is fl c ju ia or is n de as ven lab o i d u o s ti t d no im at mo po t e sa in i t m t O gis ne dm erc co eli v a e a x a m a b ala d e x e i te a r u e ta ll ve m n str ip or n up nu i o u l l l en s n eliq Do ivo gg i . n a qu i ut uat rit oss in s eq de t h ns en ia co reh fug er p eu se es

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COLLAGE 2000

AMERICAN INSTITUTE OF GRAPHIC ARTS CHICAGO CHAPTER 3316 NORTH LINCOLN AVENUE CHICAGO, ILLINOIS 60657

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BORDER TO BORDER

12

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A m e ri c a n I n s t i t u t e o f G r a p h i c A r t s , Wa s h i n g t o n D C C h a p t e r p re s e n t s ( r ) e v o l u t i o n o f G r a p h i c D e s i g n – H o w d o y o u k n o w w h e re y o u ' v e b e e n ?

Pa r t 1 / We d n e s d a y, S e p t e m b e r 2 3 - U S d e s i g n H i s t o r y a n d U S

Pa r t 2 / Tu e s d a y N o v e m b e r 17 - 2 0 t h C e n t u r y D u t ch G r a p h i c D e s i g n

           ,  

13

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Chapter stationery 141 pt

Stationery sets for two chapters (Raleigh and Washington, DC) are illustrated here and should provide adequate guidelines for most chapters when preparing their own artwork.

Several chapters, including Washington, DC, furnish cards for each of their board members.

In these cases, personal information such as e-mail or personal telephone numbers should always be listed under the individual’s name and never be included in the chapter address information. Information for constructing stationery items can also be found at www.aiga.org/common/chapters/ chapter_info.htm.

Six-line business card X

8 pt

American Institute of Graphic Arts

Raleigh Chapter

PO Box 10849

Raleigh, NC 27605

Tel 919 472 1326

cwdesign@mindspring.com

Christy White

align

President

X

141 pt

Typography Letterhead and envelopes: 10/13 Filosofia Italic.

Sequential all-cap abbreviations such as PO, MD, DC are set in 9 pt Filosofia Italic.

37 pt

12 pt

37 pt

12 pt

Seven-line business card

X

8 pt

Business cards: 9/11 Filosofia Italic.

Sequential all-cap abbreviations such as PO, MD, DC are set in 8 pt Filosofia Italic.

7.75/11 Interstate Black name.

align

Mailing labels: 9/11 Filosofia Italic.

Sequential all-cap abbreviations such as PO, MD, DC are set in 8 pt Filosofia Italic.

X

Logo Color: Chapter’s choice from the AIGA palette with “AIGA” reversing out to white.

Advisory Board

Seven-line business card with personal e-mail

American Institute of Graphic Arts

Washington, DC Chapter

7832 Briardale Terrace

Rockville, MD 20855

Tel 202 347 3881

Fax 301 963 6015

www@aigawashdc.org

X

8 pt align

Elizabeth Lichtenstein

Student Liaison kamomi@kinetikcom.com

Size on letterhead and envelope: 45 points x 45 points.

Size on business cards and mailing labels: 37 points x 37 points.

X

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Pat Taylor

American Institute of Graphic Arts

Washington, DC Chapter

7832 Briardale Terrace

Rockville, MD 20855

Tel 202 347 3881

Fax 301 963 6015

www@aigawashdc.org

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144 pt 45 pt 24 pt

12 pt

American Institute of Graphic Arts

Raleigh Chapter PO Box 10849

Raleigh, NC 27605

Tel 919 544 8770

Fax 919 828 6804

www.aiga.com/raleigh

align

American Institute of Graphic Arts

Washington, DC Chapter

7832 Briardale Terrace

Rockville, MD 20855

Tel 202 347 3881

Fax 301 963 6015

AIGAWashDC@aol.com

www.aigawashdc.org

18 pt 18 pt

12 pt

256 pt

14 pt 14 pt

American Institute of Graphic Arts

Washington, DC Chapter

7832 Briardale Terrace

Rockville, MD 20855

10 pt

American Institute of Graphic Arts

Washington, DC Chapter

7832 Briardale Terrace

Rockville, MD 20855

align

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National sponsor recognition Corporations that have formed long-term relationships with the AIGA under specified national sponsorship terms are authorized to use the national AIGA logo with specific sponsorship recognition.

This use of the AIGA logo is authorized to a sponsor only when it is licensed, in writing, through a national relationship.

the official

talent agency

an official

corporate sponsor

the official

education sponsor

Local sponsor recognition

annual sponsor of AIGA Seattle

a

of

d

sponsor

lb

gold

AIGA

ajax paper

Wichita

16

Pi

d

N

h C ASS C C S

®

Chapters can apply their own descriptions to the local annual sponsorship category, such as “gold,”“annual,”“year-round,”etc.Whichever description is selected, the sponsor’s name or logo plus a simple tag line such as “annual sponsor of AIGA Miami” should be used to differentiate this recognition from a national sponsorship.

NORTHERNPRESS

S l Whi 8 lb

Chapters that offer annual sponsorship opportunities may authorize annual sponsors to promote the relationship by using the chapter name in a designation indicating the sponsor’s support.

Printed on Neenah CLASSIC CREST 速 Solar White 80lb. cover and 100lb. text

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American Institute of Graphic Arts 164 Fifth Avenue, New York, NY 10010 Tel 212 807 1990 Fax 212 807 1799 www.aiga.org