Kraft Cheese Brand Book
TABLE
of
CONTENTS
03 Introduction 23 30 34 55 74 86 97 127
Tone of Voice Color Palette Photography Typography Graphics & Textures Logo Usage Applications Evaluating MSA Creative
128 Questions
WE’RE A BRAND THAT lives in PEOPLE’S HEARTS and NOT JUST their stomachs.
WE BELIEVE all it takes is a SPARK of INSPIRATION to
make something amazing.
Evolve the role we play in people’s lives from a staple ingredient to a spark of inspiration. That means our approach must shift from advertising to to inspiring through.
Inspiring
Approachable
Fresh
Inviting
Adventurous
Let’s think about cheese
Let’s not take ourselves too
Let’s be today. Let’s be
Let’s be easy to use and
Let’s try new things. Let’s not
differently. Hey, let’s do it
serious or be too precious.
relevant. Let’s be here-
easy to enjoy. And let’s be
be afraid to make mistakes.
differently, too.
Instead, let’s be real and
and-now.
that way for everyone who’s
Let’s get a little messy.
honest.
interested in doing so.
Who are we talking to? If we had to sum her up with one statement it would be this: life is what you make of it, so make the most of it! She is positive, optimistic and confident. She believes that no matter what you are doing, there’s a small adventure to be uncovered. And she applies this philosophy to food, as well. She’s someone who doesn’t dread her trips to the grocery store — she is always on the lookout for new products and enjoys experimenting with different types of food. When it comes to meal ideas, she could always use a few more. And while she’s surrounded by lots of information, what she is really hungry for is a spark of inspiration.
brand voice
MAKE SOMETHING AMAZING is not only a
new message for Kraft cheese, it’s a new voice.
Younger, more contemporary, in tune with today’s trends and how people eat and live. The voice is Kraft’s, but it’s all about our woman—always inspiring and encouraging her with simple and creative ideas. We talk to her as a friend but also her friendly guide, giving her confidence and letting her know mistakes are okay. The journey together is always fun, and our voice reflects that. And the end result?
AMAZING.
brand visuals
Our look is designed to reveal and embrace the process of making something, however messy or imperfect it may be. We showcase the process with a disarming quality; there’s a certain playfulness and lightheartedness that should come through every communication piece. The human touch is always present, from our photography style to our playful typography. The goal is to achieve an authentic and contemporary feel for the brand, while showcasing and celebrating the ‘making’ process.
color palette PRIMARY COLOR PALETTE
MSA Dark Blue PMS 653 CMYK: 100 / 80 / 17 / 4 RGB: 33 / 87 / 138
MSA Blue PMS 646 CMYK: 85 / 50 / 0 /0 RGB: 27 / 117 / 188
MSA Cream PMS 607 CMYK: 1 / 0 / 30 / 4 RGB: 235 / 232 / 177
MSA Copper PMS 117 CMYK: 2 / 26 / 100 / 18 RGB: 199 / 153 / 0
White CMYK: 0 / 0 / 0 / 0 RGB: 250 / 250 / 250
KRAFT BRAND COLORS
Kraft Blue PMS 2748 CMYK: 100 / 69 / 0 / 12 RGB: 3 / 31 / 115
Kraft Red PMS 485 CMYK: 0 / 100 / 100 / 0 RGB: 237 / 28 / 36
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the lockup
Our goal is to capture the entire process of making a meal in the most natural and beautiful way. Our style is loose, and full of movement. The human element plays an important role, with hands interacting with our products and our ingredients as much as possible. Through lighting we want to create a sense of closeness, both to the food and to the people making it.
brand photography
Our type is meant to support the notion of making something at home, so it has an imperfect and playful quality. Through the use of playful type-setting, our type complements our imagery and supports the spirit of the campaign.
brand typography
Note — some textures and styles used on this page are creative examples only.
We’ve created a variety of design elements to help create a sense of hierarchy in the type, and also as a support to the hand-made playfulness of the look and feel. To provide relief and variety and as a backdrop for simpler applications, we’ve also created a series of graphics and textures that reflect the sensibilities of the campaign.
brand graphics
Note — some textures and styles used on this page are creative examples only.
We look to partner with other brands that, when combined with Kraft Cheese, can come together to provide inspiration to our consumer and, ultimately, help make something amazing. We definitely look to other food brands to do this, but we’re also open to partnerships of all kinds. After all, we believe inspiration can come from anywhere. We realize there are times when the terms of a partnership will limit the amount of control Kraft Cheese has over the look and feel of communications. In those instances, it’s important we always maintain an approachable tonality. That we bring new and interesting ideas. And that we stay true to the spirit of the brand belief that all it takes is a spark of inspiration to make something amazing. Inspiration, of course, must be at the heart of anything we do.
OOH
OOH Storefront
In-store
Digital
2012
make something amazing
SMART USAGE = STRONGER BRAND. Every piece of communication we create is a chance to reinforce the brand that is Kraft Cheese. Consistency is paramount, both in look and tone. What’s laid out in this book is meant to insure that everything we say and do, looks and feels like it comes from the same place. So that everything a customer and consumer experiences is distinctively “Kraft Cheese.”
IT’S A GUIDE, NOT HANDCUFFS. Kraft cheese is all about creativity and making things with your own two hands. That spirit should infuse every piece we create. Consider this book a jumping off point, and all the things laid our here our basic tenets, so that every thing we do is consistent and of the highest quality. Following these basic ground rules, experimentation and creativity is encouraged, and we look forward to the “amazing” work to come.
30 MINS
&
you’re
DONE
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STYLE GUIDE
Playful and encouraging. Our goal with each piece of the campaign is to provide consumers with a spark of inspiration to make something amazing. We’re talking directly to our consumer, encouraging her to make something amazing with our products. Our tone is helpful, approachable and engaging. We’re light-hearted, up-beat and above all else, inspiring.
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Stand-alone & End-steps
Tone of Voice
Headlines STAND ALONE AND END-STEPS TO VISUAL RECIPES
In stand-alone use and when being used as the last step in our visual recipes, our headlines always follow the “make something _____” structure. The blank is always something that relates to the meal being described. AS A STEP IN A VISUAL RECIPE
Visual Recipe Steps
The headline as a visual-recipe step always references the main step described. It can be a bit more straight forward, but should carry our lighthearted voice none the less.
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Tone of Voice
Correct
Stand-alone headline structure
MAKE SOMETHING Consistent element
Modifier
In stand-alone use and when being used as the last step in our visual recipes, our headlines always follow the “Make Something _____” structure. The “blank” is always something that relates to the meal being described, but can feel unexpected and playful.
Incorrect
SOMETHING AMAZING MAKE AMAZING
In certain situations this construct might not work. Rather than altering the structure (e.g. “Make ____ Amazing”) we advise walking away from this construct altogether and finding a different solution for that particular application.
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Step 1
Step 2
Tone of Voice
Visual recipe headline structure
Step 3
Step 4
When used as a visual-recipe step, the headlines always reference the main step described. They can be a bit more straight forward, but should carry our light-hearted voice none the less, and can rely on secondary copy to provide greater insight into the step — or add some playfulness. The last step in our How-To’s and Visual Recipes will always follow our stand-alone headline structure — Make Something ________. See page 7 for more on this.
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Tone of Voice
Secondary copy structure
rub a little olive oil & heat
Secondary copy supports what the headline is trying to convey, and should provide deeper insight into the message and product. If used as support to a visual recipe step, the sub copy can provide greater insight into what the step is. See the typography section for more information on using multiple typefaces within the secondary copy.
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Do Do be creative within the headline structures
Do Do capture the playful and light-hearted voice
Tone of Voice
Dos & don’ts When a headline is being used as the end-step of a visual recipe or as a stand alone, it should never veer from our “Make Something ______” structure. Headlines used as a step in a visual recipe should stay away from the “Make Something _____” structure, and simply call out a step in the process. Don’t Don’t change or alter the headline structures
MAKE BURGERS AMAZING GRILL SOMETHING AMAZING
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STYLE GUIDE
color palette PRIMARY COLOR PALETTE
MSA Dark Blue PMS 653 CMYK: 100 / 80 / 17 / 4 RGB: 33 / 87 / 138
MSA Blue PMS 646 CMYK: 85 / 50 / 0 /0 RGB: 27 / 117 / 188
MSA Cream PMS 607 CMYK: 1 / 0 / 30 / 4 RGB: 235 / 232 / 177
MSA Copper PMS 117 CMYK: 2 / 26 / 100 / 18 RGB: 199 / 153 / 0
White CMYK: 0 / 0 / 0 / 0 RGB: 250 / 250 / 250
KRAFT BRAND COLORS
Kraft Blue PMS 2748 CMYK: 100 / 69 / 0 / 12 RGB: 3 / 31 / 115
Kraft Red PMS 485 CMYK: 0 / 100 / 100 / 0 RGB: 237 / 28 / 36
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color palette
MSA Dark Blue MSA Dark Blue provides a rich, deep blue for use as a type color (when using a light background) or as a background element. Use this blue prominently, as it captures the rich essence of the ‘Make something amazing’ experience and aligns closely with the brand blue.
MSA Blue MSA Blue provides a complimentary color to the MSA Dark Blue and is ideal for providing additional contrast from brand elements such as pack shots. Use this to add variation from the Kraft Dark Blue, when blue-toned Kraft packaging is involved, and as a secondary color in backgrounds.
MSA Cream This is the primary color for headlines and secondary copy. Use this in all instances that copy is being placed over an image. In rare cases where more contrast is needed, use white.
MSA Copper MSA Copper should be used exclusively for accenting squiggles.
White White should only be used on copy placed over a textured blue background.
MSA Copper should not be used as a background color.
In rare cases it can be used to provide greater contrast against photographic backgrounds
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Do Do use the correct colors for backgrounds
Do Do use only cream colored type over a photograph
Color Palette
Dos & don’ts To create visual consistency across all pieces of the campaign, certain colors should only be used in certain applications.
Don’t Don’t use any secondary colors as a background
Don’t Don’t use colors other than MSA Cream or White for headlines, subheads or subcopy.
TWO perfect
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STYLE GUIDE
Through photography, our main goal is to capture the making process in its entirety and inspire people to create something amazing themselves. To achieve this, we want our subject and environments to not only look beautiful, but feel approachable and real as well. We want to capture mistakes, messiness, and imperfection. We want to capture every step of the way.
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Lighting
Angles
Photography
Lighting & angles We want to portray our food and subjects in the best light/angles possible. Most importantly we want it to feel real. Use of Natural Light
Three-quarters
To achieve this, we always shoot from angles from which you would normally see the food or subjects if you where in the kitchen. Lighting should always feel natural, yet create a sense of place and warmth through the use of shadows.
Balance of light & dark areas
Bird’s-eye
Vary lighting to fit the meal
Straight on
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Crop Always off center, with both light and dark areas
Photography
How to crop and position images In shooting our images, we always account for dark space where our light-colored type can live. While cropping, these dark spaces should be maximized to allow for copy placement.
Clearspace for headline Position the photograph to allow room for headline and secondary copy. Do not place copy over busy areas
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lifestyle gallery
make something amazing
Preparation
Serving
Lifestyle Photography
Situations Lifestyle images are meant to involve the “maker� into the process, adding to the human element of the images. People are shown involved in every step of the process, getting their hands dirty, and enjoying the food.
Cooking in-progress
Enjoyment
These images are usually taken at wider angles, revealing more of the context of the space and less of the food, and are meant to provide some relief to the closer-in images.
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Real People
Genuine Emotions
Lifestyle Photography
Casting & styling People should feel authentic, warm and approachable. Never overly posed or styled. They’re a part of, and are, enjoying every step of the process.
Multicultural
Everyday approach to styling
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Lifestyle Photography
Environments & propping Environments feel contemporary and beautiful, but not overly stylized. They carry warmer and often darker tones to help balance the abundance of natural light, and to give the images a sense of mood and warmth. This also helps in providing a backdrop for our type. Props are varied, but are always selected to lend a sense of place and story to each scene.
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food gallery
make something amazing
Mix it up
Delicious Details
Food Photography
Situations We want to capture every step of the making process, no matter how messy. We’re not afraid to get up close to the food, and hands are always key element. Food is always shown in its most natural state. Lighting is always natural.
Always have a human element
It’s OK to have a little mess
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Embrace imperfections
Show it in-progress
Food Photography
Food styling Food styling is informal. The food should always feel like it was made in a real home. It should feel effortlessly styled but appetizing and beautiful.
Show off the product
Simple presentations
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Food Photography
Food styling Notes on food stylists: For food styling, we’ll rely on our own roster of stylists. This will help us achieve the desired look/ feel in a consistent maner. Contact the brand team for more information. Notes on Hand models: We recommend that the people we use in our imagery feel completely comfortable and confident around food, and the making process. A good way to ensure this is to utilize food stylists / stylists’ assistants when capturing the making process, and even when capturing wider-framed lifestyle imagery. These people, though, should always fit our casting profile, and standard usage should apply. In many cases, they can be recommended by the main food stylist that is being used. We recommend against professional hand models.
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Food Photography
Environments & propping Environments feel contemporary and beautiful but just like our food, not overly stylized. They carry warmer and often darker tones to help create counter balance to the abundance of natural light. The warmer tones also creates contrast against the ingredients, which allows the food to come through strongly. Propping around the food should feel natural and simple. Whatever you’d normally find around the food or ingredients at that particular point. Overall props should carry contemporary aesthetics, but also bring some texture and interest to the image.
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Aspirational
New spins on old classics
Food Photography
‘Make something amazing’ recipes What makes an MSA recipe? A few things. First, it should be simple. We should be able to get the gist across in just a few images, including the end dish. Second, they should be contemporary and fresh. Inspirational and slightly aspirational, but not intimidating or unachievable.
Simple and easy
Surprising new ideas
Finally, they should be visually appealing and also delicious. This might be an obvious one, but we want them to look as amazing as they taste!
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product gallery
Note — this image was shot for television purposes only.
make something amazing
Big Slices
Singles
Product Photography
Existing products Products are always shown as part of the making process, where they feel the most natural. Sometimes they’re being interacted with, sometimes they’re set around the work-surface along with other ingredients. We never force a product to be front and center unless we’re showcasing a step where our product is key.
Shreds
Parm
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Product Photography
New products As with all our imagery, we want to capture the entire making process. This is particularly true for new products, and where showcasing how the product is used is key.
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Product Photography
Packaging When capturing product packs, they should be shot using even but natural light.
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Product Photography
Package recognition (Television) Some package recognition shots are built in to the scene being portrayed. Others are approached in a more stylistic way, showing the package as the only subject in the frame. Natural situation
When capturing product packs in situation, they should be shot where they would naturally be found in. The focus, however should be on the pack itself, and there should not be other elements getting in the way. When capturing packs in a more stylistic way, the sets should be kept simple but engaging, and it should be shot using even but natural light.
Stylized situation
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Product Photography
Package recognition (Print, OOH, In-store) Package recognition shots come mostly from the lock-up or a formal package shot found on the bottom of the communications piece. The package and product are, however, incorporated throughout the photography wherever it feels appropriate. The images that incorporate the package/ product are designed portray its role in the making process.
Packshot in lockup
When capturing package recognition shots for these applications, they should be shot head-on and using even but natural light.
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Do Do balance the lighting within the shot
Do Do include a human element, when appropriate
Do Do have a center of focus with your crop
Photography
Dos & don’ts With all our images, context is key. We want to always show enough of the image to give a sense of place and of where in the making process we are. Overly dark images, or overly tight cropping can get in the way of this.
Don’t Don’t use an image that is overly dark or light
Don’t Don’t include unnecessary human elements
Don’t Don’t crop in too tightly
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STYLE GUIDE
typography gallery
The type was selected and treated to build on and play off of the spirit of the campaign. It should reflect a sense of human touch and playful imperfection. It’s honest and approachable.
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Typography
Primary Typeface
LONDRINA
THIS IS USED FOR HEADLINES, AND HEADLINES ONLY!
Secondary Typefaces
Jillsville
This is used for subheads and other supporting copy.
Learning Curve
This is used for accents, and should be used sparingly.
Fonts To provide variety and relief, we rely on several different typefaces. Each type face plays a unique role in the communication.
Tertiary Typeface
FS Albert
This is used for sub-copy and body copy, when necessary (nothing more).
Web Typeface
PT Sans
This font is used for web-based applications only. 58
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Primary Typeface
Typography
LONDRINA SOLID
Londrina Solid
headline font ABCDEFGHIJKLMNOPQR STUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789
Londrina is our primary font. Hierarchically it’s the most prominent, being used for headlines. It’s meant to deliver the main idea of each piece. Londrina is a free typeface and can be downloaded from myfonts.com.
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Secondary Typeface
Typography
Jillsville Bold
Jillsville Bold
Secondary Font ABCDEFGHIJKLMNOPQR STUVWXYZ
Jillsville is one of our secondary fonts. We use it to support Londrina, our primary font. This font cannot be shared or modified, and must be purchased. It can be found on myfonts.com.
abcdefghijklmnopqrstuvwxyz 0123456789
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Secondary Typeface
Typography
Learning Curve
Learning Curve
Secondary Font ABCDEFGHIJKLMNOPQR STUVWXYZ a bc def g hijklmnop q rs tuv w x yz 0 1 23 4 567 8 9
Learning Curve is the other of our secondary fonts. We use it in conjunction with Jillsville as support to our primary font (Londrina). Because it can be harder to read than the other typefaces, use it sparingly. Because Learning Curve is a script font, always check the connection points between letters to make sure they align properly. Learning Curve can be downloaded for free from dafont.com, for personal use. The font maker should be contacted if using the font commercially. (blue@bvfonts.com)
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Script letter connection points
Learning Learning Unkerned (Wrong)
Typography
Learning Curve connection points Because Learning Curve is a script font, always check the connection points between letters to make sure they align properly.
Kerned (Right)
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Tertiary Typeface
Typography
FS Albert
FS Albert
Tertiary Font ABCDEFGHIJKLMNOPQR STUVWXYZ abcdefghijklmnopqrstuvwxyz
0123456789
FS Albert is our tertiary font. It’s used in cases where additional language is needed to get a point across. It’s often used as a separate element from the primary and secondary fonts, such as body copy or other supporting text. This font cannot be shared or modified, and must be purchased. It can also be replaced with a similar modern, san serif font that a vendor/partner/ 3rd party owns.
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Web Typeface
Typography
PT Sans
PT Sans
Web Font ABCDEFGHIJKLMNOPQR STUVWXYZ abcdefghijklmnopqrstuvwxyz
PT Sans is is our web font. Its primary function is to be the typeface used in any online or digital copy needs. Londrina, Jillsville and Learning Curve should still be employed for any headlines and secondary copy, but use PT Sans for things like body copy. PT Sans is a free web font and can be found at: http://www.fontsquirrel.com/fonts/ PT-Sans
0123456789
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Headline Always use Londrina for the headline. Use multiple type sizes and vary the alignment.
Typography
How to use multiple typefaces With our hierarchy in place, the different typefaces can be used in various combinations to achieve a desired result. Together these fonts add character and a light-hearted charm to the campaign message. As a rule, though, whenever our headline font is present (Londrina), any secondary copy should follow it.
Secondary Copy Use a mix of Jillsville and Learning Curve.
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Typography
Highlighting words in sub-headlines Using our secondary typefaces in unison adds character and helps the brand voice come through. Jillsville (all caps) should be used to highlight a key word or words on the sub-headline copy structure. Jillsville (lowercase - not shown) can be used to highlight a secondary word or words, while Learning Curve should be used for the remaining words. Key Words Use Jillsville (all caps and/or lowercase) to highlight key words
Remaining Words Use Learning Curve (sparingly) for the remaining words
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Highlighted secondary copy + headline lockup
Highlighted headline
Typography
Using type and squiggles Our squiggles are designed to bring an added element of playfulness into our typographic treatments. Whenever the word “Make� is present in a headline, any squiggles present should go around it. Secondary copy linked with headline through squiggle
Separate headline and secondary copy
Otherwise, the can be used to highlight a piece of support copy, link support copy to a headline, or to highlight a package. No more than a single set of squiggles should be used around type. No more than a single set of squiggles should be used around our products.
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Type over 18 pt. type requires no stroke
DELICIOUS
delicious
Typography
Small type sizes In cases where secondary copy goes below a certain point size, a slight stroke should be added to ensure legibility. This only pertains to the thinner-weight secondary typefaces Jillsville and Learning Curve.
Type 18 pt. and under requires a .5 pt. stroke
DELICIOUS
delicious
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Typography
Body Copy Application (Sample FSI)
Body copy CHEESE
make something amazing
Kraft Natural Cheese. And the perfect blend of spices & bread crumbs - all in one bag.
kraftfreshtake.com
Maintain basic standards for legible type. Body copy should be easily readable, so any size under 10 pt. is too small.
An example of this is in the event of a new product launch, where the ad requires additional explanation and insight. Body copy usually remains a separate element from our primary and secondary fonts.
Sample Body Copy Keep body copy short and to the point. Leading should follow the general look for other copy.
Body copy is used when additional information about a product needs to be conveyed.
Lorem ipsum sit amet Isquibus. Me pos dolor porerum ipsaecta aest nimiliciet utem solor. FS Albert 12/16
Legal copy and URLs can be smaller, though still need to be readable. Don’t use anything smaller than 5 pt. type in these situations.
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Typography
Type sizes and alignment Our headline type is set in stacked format, with variations in size between the words. These variations should not be overly dramatic, and they are meant to lend a sense of looseness to the headlines. Always emphasize the active words in the headline. In the example to the left, ‘Make’ and ‘Sizzle’ are the important words, so they receive the most emphasis.
Do not align healines flush left
MAKE SOMETHING SIZZLE
Do not force justify healines
MAKE SOMETHING
SIZZLE 70
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Typography Leading is snug but not tight
Leading & kerning In keeping with the loose, handmade look of the campaign, leading between lines of copy should be close, but comfortable. Due to the varied size of the headline type, no set value or rule exists. Use the examples shown through this section as a good visual indicators for proper spacing. Kerning should also be somewhat loose to maintain maximum readability.
Open letterspacing balances heavy font weight
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Typography
Using color Photographic background
To play off of the warmer tones of our photography, when laid over images our type will always use the beige tone. When laid over a flat background or texture, the color of the headline type will be white to provide for a more graphic read. When using a light or white background, the type should use MSA dark blue.
Color background
White background
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Do Do apply the brand texture only to headlines
Do Do make sure all copy is clear and readable
Typography
Dos & don’ts CHEESE
make something amazing
Kraft Natural Cheese. And the perfect blend of spices & bread crumbs - all in one bag.
kraftfreshtake.com
Don’t Do not use non-approved type alignments (flush left or justified) and do not skew/rotate headlines
make something amazing
To ensure consistency between the pieces of the campaign, certain rules apply.
Don’t Don’t swap headline and secondary typefaces
OPEN it Up using a spoon
t s e b e th PART 73
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STYLE GUIDE
Graphics and textures allow us to provide additional detail and craft to each piece in a way that reflects the sensibilities of the campaign. These elements include squiggles and textures to be used in different applications.
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graphics gallery
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Graphics
Squiggles library Our squiggles are designed to bring a sense of playfulness and humanity to the typographical treatments and to our layouts. They are loose and slightly imperfect, and are used to highlight a word, phrase or product.
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Highlight key headline and secondary copy
Graphics
Using type and squiggles To ensure consistency between the various pieces of the campaign, certain rules apply to the use of the squiggles. They can be used to highlight the word “Make�, to highlight the sub-copy of a portion of it, to lock-up the QR code, and to highlight a product. QR Code should always appear with the squiggle box around it
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Graphics One squiggle per headline
Squiggle rules Squiggles can also be used to highlight and provide directionality to the way the type is read. Only use one squiggle or graphic element per page. (Plus the QR code)
Use either directional elements or squiggle brackets to add emphasis to the copy
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Background Texture
Typographic Texture
Graphics
Textures To provide flexibility across the different applications, we’ve created a set of textures that reflect the sensibilities of the campaign. These should be used as a backdrop for copy/product when no image is present. The secondary texture should only be used in extreme cases when the primary blue background texture will not work. Secondary Texture
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Step 1 Take the Typographic texture and apply either the MSA Blue or Dark Blue
Step 2 Paste into a text box filled with the complimentary blue color
Graphics
Building a textured background Our textures are always a combination of two colors. This helps in creating a more interesting element, and adding depth to the visuals. The featured color + texture should be laid on the secondary color (flat) to achieve the desired effect. You can also reach out to the brand team (email address at the end of this document) and request the official hi-res artwork.
Result Final background is predominantly the primary color with hints of the secondary showing through
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Graphics
Textures and readability The primary texture background provides a lot of options when applying to type. There are, however, areas that are overly distressed and do not lend themselves to type applications. Avoid using these areas as they can hinder readability and the communcation of the headline/message. When applying a texture, make sure you vary the placement of the type over the texture. This helps give each headline a unique look. Solid vs. Distressed Areas Solid and distressed areas shouldbe balanced to insure that type is readable
Varying Textures Placement Vary the placement of the texture within the type to give each headline a unique look.
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Step 1 Use the approved brand texture
Step 2 Use a layer mask to apply the texture to the type (This keeps the type and the texture editable)
Graphics
Applying texture to type When applying a texture to type, make sure that the proper (approved) texture is used. Textures should always be applied in Photoshop, and adhere to minimum guidelines regarding legibility. Thus, insure that the texture is not overly busy or distressed, as it will hinder communication.
Result The brand texture should be apparent without hindering the readability of the headline
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Do Do use one squiggle per page (plus the QR code)
Do Do highlight active, exciting words within the copy
Graphics
Dos & don’ts — graphics To prevent overuse or misuse of these elements, certain rules apply.
Don’t Don’t use more than one graphic element.
Don’t Don’t create your own squiggles.
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Do Do vary the texture applied to headlines
Do Do use the typographic texture in the correct proportion to the type
Graphics
Dos & don’ts — textures Make sure the grain of the texture is always running horizontally, never vertically.
Don’t Do not run the typographic texture vertically
Don’t Don’t overly enlarge the typographic texture
Make sure that the scale of the texture is in the correct proportion in realation to the type size. When applied properly, the texture should resemble a fine wood grain. Overly enlarging the texture will compromise legibility and should be avoided.
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STYLE GUIDE
make something amazing
Logo Usage
Overview We’ve updated the Kraft logo to reflect the sensibilities of the campaign.
CHEESE
make something amazing
It’s slightly imperfect and playful, but remains true to the original race-track design. It can be used in conjunction with the lock-up (as seen here), or on its own, but always with the word “cheese” underneath it.
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CHEESE
make something amazing
Logo Usage
Color variations Our primary color variation (top left) is used in most applications. Our other variations might apply, depending on the situation.
4-color (for use on dark backgrounds)
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4-color (for use on light backgrounds)
CHEESE
1-color MSA Dark Blue
CHEESE
1-color black
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1-color white
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make something amazing
Logo Usage
Usage guidelines On most consumer-facing pieces of communication, the logo should be featured together with the entire lock-up.
CHEESE
make something amazing
Kraft Natural Cheese. And the perfect blend of spices & bread crumbs - all in one bag. kraftfreshtake.com
Lockup The full lockup should always appear once on every piece of communication
Secondary Lockups/Packaging These can used as long as the primary lockup appears elsewhere
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Logo Usage X
X
CHEESE
In order to ensure legibility, certain rules apply to the spacing in and around our logo.
make something amazing
CROP
X
X
Clearspace: open lockups
X Crop Side Due to the nature of the bar being cropped, one side will not require clearspace
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Logo Usage
Clearspace: enclosed lockups X
X
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make something amazing
CROP
X
X
In order to ensure legibility, certain rules apply to the spacing in and around our logo.
X Crop Side Due to the nature of the bar being cropped, one side will not require clearspace
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brand hierarchy
CHEESE Products
Sub Brands
Co-branded Products
Sub Brand Logos
make something amazing
Logo Usage
Primary Hierarchy
Sub-brand lockups CHEESE
make something amazing
CHEESE
Open Lockup
To ensure consistency between the pieces of the campaign, certain rules apply to product + lock-up applications.
make something amazing
Enclosed Lockup
Secondary Hierarchy
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Open Lockup
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CHEESE
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Enclosed Lockup
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Logo Usage
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Product lockups We’ve created two variations of our product/logo lock-ups. The enclosed lockup is to be used in cases where additional branding is needed.
Open Lockup
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Enclosed Lockup
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Logo Usage
Make Something Amazing + Co-brand Logo
X CHEESE
make something amazing
X
Co-branding guidelines When co-branding opportunities might arise during the campaign it’s important to make sure that both the ‘Make Something Amazing’ lockup and the co-branding logo are treated correctly.
Sub Brand Logo + Co-brand Logo
X
X
The co-brand logo should never be bigger than either the Kraft product or ‘Make Something Amazing’ lockup. Rather, it should be given equal visual prominence.
Product Package + Co-brand Logo
X
X
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Do Do follow the guidelines for proper placement and cropping of the lockup
CHEESE
Do Do use the proper amount of clearspace around the lockup
make something amazing CHEESE
Don’t Don’t use the vector version of the Kraft logo.
CHEESE
make something amazing
make something amazing
Logo Usage
Dos & don’ts To ensure consistency between the pieces of the campaign, certain rules apply.
Don’t Don’t apply visual effects to the lockup
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STYLE GUIDE
SMART USAGE = SMARTER BRAND. Every piece of communication we create is a chance to reinforce the brand that is Kraft Cheese. Consistency is paramount, both in look and tone. What’s laid out in this book is meant to insure that everything we say and do, looks and feels like it comes from the same place. The following pages provide examples of how the rules and tools preceding this can come together to form communications in various channels. Within these applications you’ll find some really good examples as well as some important watch-outs for you to be aware of as you create your own MSA communication.
make something amazing
Applications
QR code usage QR codes are a way to provide a deeper, more interactive experience to our consumers, via our more traditional advertising channels. In the case of print and OOH, the advertising serves to inspire by showcasing a key step or steps while the QR code can serve as a way of allowing our consumers to access the recipes in full via the mobile site. Whenever a QR code is used, it should be to deliver additional content that is not provided within the communication piece itself. The primary role of QR codes should be to further the inspiration, not just to regurgitate the same information already found within the communication or easily accessed via kraftcheese.com.
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The role of print is to inspire our consumer to make something amazing with one of our products. When applied correctly to print, our guidelines will ensure an easy read of the food, type and product, without losing the sense of playfulness that are key to this campaign.
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make something amazing
Applications
Print An example of how our guidelines come together in a print application. Our typographical elements, along with our sub-copy and tagline are placed so as to compliment the subject of the image.
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Applications
Print Additional examples of how our guidelines come together in print applications.
CHEESE
make something amazing
Kraft Natural Cheese. And the perfect blend of spices & bread crumbs - all in one bag. kraftfreshtake.com
MAKE
something all warm inside
CHEESE
make something amazing
CHEESE
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kraftslices.com kraftsingles.com
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TV
The role of broadcast TV is to deliver the spirit of making something and focus on our product point-ofdifference in an inspiring and emotional way. We always portray our brand/products (and the making process, of course) with a sense of honesty and authenticity. We always avoid being overly scripted or insincere and will never stage the environments excessively or over stylize the food. Everything is captured in a natural, casual and effortless way. We cast real people and film them in their real homes which allows us to get their real interactions The goal is for consumers viewing this to feel inspired through people just like them, making, using and enjoying Kraft Cheese.
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Applications
TV An example of how we showcase our products in video. It can be seen in situation, or as a more simplified and formal package shot. But it’s always shot with natural light, and never overlyretouched.
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Applications
TV We always showcase the making process in its entirety.
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BRIGHT ideas
VIDEOS
The role of our Bright Ideas videos is to showcase the ease and enjoyment of making something with our products. The videos are anything but your traditional how-tos. Instead of telling consumers exactly how to make the recipe, we instead show them how simply something amazing can be made. These videos are meant to elevate the idea of making something with your own two hands by showing the whole process and not only encouraging, but inspiring our consumers to do the same.
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Applications
Video An example of how our typographical rules apply to video. Our typographical elements are placed so as to compliment the subject of the scene.
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Applications
Video An example of how our typographical rules apply to video. Here, only simple sub-copy was used.
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OOH
The role of out-ofhome is to inspire our consumer to make something amazing with one of our products. Here is where we showcase our visual recipes in a grand scale, providing something inspiring for our consumer to view and go make for themselves. When applied correctly to out-of-home, our guidelines will ensure an easy read of the steps, type and product, without loosing the sense of playfulness that are key to this campaign.
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Applications
OOH An example of our visual recipes applied to the out-of-home environment. Prominent typography laid over dark-space ensures a good read, but does not get in the way of the subject of the image.
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make something amazing
Applications
OOH Another example of a visual recipe in an out-of-home environment (inside of the bus shelter), accompanied by a lifestyle example (outside of the bus shelter).
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DIGITAL
The role of digital is to be where inspiration meets activation, our strategy is: find it > make it > share it. We deliver recipes and videos in an inspirational way in an environment where she is searching for them. The creative provides her the inspiration she needs to make something and the web delivers the tools to add her own spark to be the inspiration others need to make something amazing.
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ners w/ video
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Applications
Recipe banners w/ video We strive to reach our consumer when they are considering cooking or food in general while online. From searching for a recipe to visiting a site related to cooking. In this expandable unit, we use flourishes to connect the headline to the CTA in the collapsed state, and the headline to the video in the expanded state.
1
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Applications
Recipe banners Some example of how our guidelines rules apply to online media. • O ur typographical elements are placed so as to compliment the subject of the scene and work with in the confine of various shape and sizes of media. • F or recipe banners we use flourishes to enhance the communication and connect talking points. • A lso an example of how we showcase our photography in cropped and large scale, as well as our product.
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Applications
Testimonial banners • A n example of how our typographical rules apply to online media. • O ur typographical elements are placed so as to compliment the subject of the scene and work with in the confine of various shape and sizes of media. • A lso an example of how we treat subtext that is too small to be treated with one of our more elaborate secondary type faces. • A lso an example of how we showcase photography from our 360i’s content studio as well as our product.
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make something amazing Parnership usage on facebook
Applications
Partnership usage Some examples of how one of our partner logos works in relation to our branding. • W e use flourishes to connect the branding to the headline to tie them together. • T his is also a good example of usage of secondary typefaces in the digital space to help break up the headlines and add emphasis. Our typographical elements are placed so as to compliment the subject of the scene.
Partnership usaqge in Banners
Kraft Kraft Kraft Singles_300x250 Singles_300x250 Singles_300x250 Standard Standard Standard Banne Banne Banne 160x600 160x600 Standard 160x600 Standard Banner Standard Banner - Coupon Banner - Coupon - Coupon
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0202 02
0303 03 01
01
01
02
02
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• A lso an example of how we treat subtext that is too small to be treated with one of our more elaborate secondary type faces.
728x90 Standard Banner - Coupon
01
02
03
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Applications
Kraft Cheese site
Kraft Cheese Site
Our online hub is meant to provide every piece of information our consumer expects to see, but also give them a spark of inspiration to make something amazing. • J ust like the rest of our communication, this piece carries the spirit of the campaign through the use of our voice, imagery, typography and guidelines.
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Applications
Visual recipes
Visual Recipes
An example of our visual recipes. • P rominent typography laid over dark-space ensures a good read, but does not get in the way of the subject of the image. These steps appear in a long column on our Kraft Cheese Site with prominent typography laid over. • O ur typographical elements, along with our sub-copy are placed so as to compliment the subject of the image and allow for legibility. • W e make use of subtle darkening of the image to allow for further legibility.
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• P hotography is cropped to allow for best positioning of the focus of the shot, and allow for type placement.
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PROMOTIONAL COMMUNICATIONS
The role of Promotional Communications is to inspire consumers to take action immediately. When creating promotional elements take the spirit and principalsof the Make Something Amazing campaign and apply them to drive immediate action. That action may be asking the consumer to clip a coupon,submit a sweepstakes entry, or lean over and sweep a product off the shelf into their cart.
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Do Do make an effort to stay within the Make Something ______ format. • Objective: Inspire MomME to purchase Kraft cheese in order to Make Something Amazing this week
MAKE SOMETHING GAME-CHANGING Maintain an inspiration spirit and playfulness when varying from the Make Something ______ format. • Objective: Communicate to MomME that the Touch of Philadelphia she loves is now available in Touch of Philadelphia Natural Slices
OUR CREAMIEST MELT, NOW IN A SLICE Don’t Don’t force a communication objective into a Make Something _____ format if it is not working. • Write uninspiring or generic product headlines.
MAKE SOMETHING WITH NO ARTIFICIAL FLAVORS • Alter the Make Something _____ format as the solution to an objective.
MAKE HOLIDAYS AMAZING
Promotional Communications
Messaging Communication objectives drive the role of the headline and support copy. While every effort should be made to explore MAKE SOMETHING ______ options, if the communication objective cannot be integrated in this format, then alternatives may be explored. Examples of communication objectives are: introduce a new product, choose our product over a competitor; visit the dairy aisle to find our product; or add our product to your shopping list. These often require the elevation of promotional messages, or the “one thing” from support copy to headlines. When you do find it necessary to vary from the MAKE SOMETHING ____ format, you should still maintain an inspirational spirit to your copy that embraces fun and playfulness.
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Promotional Communications
Standard “Make Something Amazing” format
In-store singles
fresh
SLIDERS CHEESE
APPLE & TURKEY
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sandwich
CHEESE
kraftcheese.com
make something amazing kraftcheese.com
Optimized “Make Something Amazing” format for in-store • Utilize photography that displays enough contrast in the imagery to effectively stand out at shelf. • Over-sized packaging. • Minimal body copy, no thin or decorative fonts. • Be sparing with use of flourishes and other small details at risk of getting lost or causing clutter. • Use of solid color cuts through the busy setting at-shelf.
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make something amazing
The key to making in-store creative stand out is to adhere to the Make Something Amazing principals while keeping in mind the cluttered in-store environment.
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Signage needs to be attention grabbing and readable from several feet away. Take into account the sea of products and promotional messages found at shelf. Boldness, contrast between text and backgrounds, and simplicity help in-store displays stand out.
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B:8.75” T:8.5” S:8.25”
Promotional Communications
Example: Kraft Singles partnered with Weber in order to elevate the Singles brand during the summer grilling season.
© 2012 Weber-Stephen Products LLC. Weber, the silhouette, and the kettle configuration are registered trademarks of Weber-Stephen Products LLC, 200 East Daniels Road, Palatine, IL 60067-6266 USA. All rights reserved. © 2012 Kraft Foods
kraftcheese.com
all recipes have been taken.
SORRY,
SIngles Summer Grilling — BACKYARD — Retailer Half Page Ad
FINAL MECHANICAL
Toolkit = no MSA #
© 2012 Kraft Foods
3/27/12
T:5.5”
S:5.25”
kraftcheese.com
© 2012 Weber-Stephen Products LLC. Weber, the silhouette, and the kettle configuration are registered trademarks of Weber-Stephen Products LLC, 200 East Daniels Road, Palatine, IL 60067-6266 USA. All rights reserved.
B:5.75”
In promotional communication, partners ideally provide an inspirational brand halo at an emotional level and inspirational value at a rational level. This value can be content, savings, experiences, or material rewards that drive consumers to act. Together, these partners ignite the spark more than they can alone. Treatment of partner logos, brand names, partner graphics, and partner product images depend on many factors including the goals of the promotion, partner agreements, and partner style guides.
© 2012 Weber-Stephen Products LLC. Weber, the silhouette, and the kettle configuration are registered trademarks of Weber-Stephen Products LLC, 200 East Daniels Road, Palatine, IL 60067-6266 USA. All rights reserved. © 2012 Kraft Foods
For more delicious recipes visit KraftCheese.com
Weber brought an aura of grilling authority and expertise to the program, so together the two brands were able to provide consumers with summer grilling inspiration. As equal partners, the Weber logo received comparable weighting in promotional materials.
Partnership integration
kraftcheese.com
FREE RECIPES From the top American Grill and the topSORRY, American Cheese all recipes have been taken.
TAKE ONE © 2012 Weber-Stephen Products LLC. Weber, the silhouette, and the kettle configuration are registered trademarks of Weber-Stephen Products LLC, 200 East Daniels Road, Palatine, IL 60067-6266 USA. All rights reserved.
© 2012 Kraft Foods
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PROMOTIONAL EXECUTIONS
FSI single page
Combo cards FSI spread
In-store display Cross promotional signage
Floortalk Retailer ad
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PARTNERSHIPS
The role of partnerships is to bring inspiration and added value to our consumers, ultimately helping them make something amazing. In certain instances, partnerships can limit the amount of control Kraft Cheese has over the look and feel of communications. In those cases, it’s important that we always maintain our approachable tonality, that we’re bringing sparks of inspiration and that we stay true to the spirit of the brand.
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B:8.75” T:8.5” S:8.25”
Partnership
Example: Kraft Singles partnered with Weber in order to elevate the Singles brand during the summer grilling season.
© 2012 Weber-Stephen Products LLC. Weber, the silhouette, and the kettle configuration are registered trademarks of Weber-Stephen Products LLC, 200 East Daniels Road, Palatine, IL 60067-6266 USA. All rights reserved. © 2012 Kraft Foods
kraftcheese.com
all recipes have been taken.
SORRY,
SIngles Summer Grilling — BACKYARD — Retailer Half Page Ad
FINAL MECHANICAL
Toolkit = no MSA #
© 2012 Kraft Foods
3/27/12
T:5.5”
S:5.25”
kraftcheese.com
© 2012 Weber-Stephen Products LLC. Weber, the silhouette, and the kettle configuration are registered trademarks of Weber-Stephen Products LLC, 200 East Daniels Road, Palatine, IL 60067-6266 USA. All rights reserved.
B:5.75”
In promotional communication, partners ideally provide an inspirational brand halo at an emotional level and inspirational value at a rational level. This value can be content, savings, experiences, or material rewards that drive consumers to act. Together, these partners ignite the spark more than they can alone. Treatment of partner logos, brand names, partner graphics, and partner product images depend on many factors including the goals of the promotion, partner agreements, and partner style guides.
© 2012 Weber-Stephen Products LLC. Weber, the silhouette, and the kettle configuration are registered trademarks of Weber-Stephen Products LLC, 200 East Daniels Road, Palatine, IL 60067-6266 USA. All rights reserved. © 2012 Kraft Foods
For more delicious recipes visit KraftCheese.com
Weber brought an aura of grilling authority and expertise to the program, so together the two brands were able to provide consumers with summer grilling inspiration. As equal partners, the Weber logo received comparable weighting in promotional materials.
Promotional communication
kraftcheese.com
FREE RECIPES From the top American Grill and the topSORRY, American Cheese all recipes have been taken.
TAKE ONE © 2012 Weber-Stephen Products LLC. Weber, the silhouette, and the kettle configuration are registered trademarks of Weber-Stephen Products LLC, 200 East Daniels Road, Palatine, IL 60067-6266 USA. All rights reserved.
© 2012 Kraft Foods
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make something amazing Parnership usage on facebook
Partnership
Digital application Some examples of how one of our partner logos works in relation to our branding. • W e use flourishes to connect the branding to the headline to tie them together. • T his is also a good example of usage of secondary typefaces in the digital space to help break up the headlines and add emphasis. Our typographical elements are placed so as to compliment the subject of the scene.
Partnership usaqge in Banners
Kraft Kraft Kraft Singles_300x250 Singles_300x250 Singles_300x250 Standard Standard Standard Banne Banne Banne 160x600 160x600 Standard 160x600 Standard Banner Standard Banner - Coupon Banner - Coupon - Coupon
4 0101 01
0202 02
0303 03 01
01
01
02
02
02
03
03
03
• A lso an example of how we treat subtext that is too small to be treated with one of our more elaborate secondary type faces.
728x90 Standard Banner - Coupon
01
02
03
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What to consider when evaluating a piece of Kraft Cheese communication? First of all, we’re sure you’ve already paid attention to the rules and tools laid out in the past 100+ pages? No, seriously, that’s what they’re there for. Most of your answers can be found within these pages so if something feels off, revisit it. We’ll wait. Okay now ask yourself these questions… •
Do I feel inspired?
•
Does this feel contemporary and new for Kraft? Or does it seem like what I’ve always seen? (Hint: the answer should be ‘yes’ to the first question and ‘nope’ to the second.)
•
Do I understand the message? And does it come across in a way that feels approachable, inviting and fresh?
•
Is the communication telling just enough without over explaining? We mean, is it showing vs. telling whenever possible?
•
Are the images shown captured in a way that’s real and honest? Or is it overly staged or too precious or worse, just fake?
For more information or questions
regarding the
MAKE SOMETHING AMAZING
campaign, contact :
msa@mcgarrybowen.com