AngguN
G raphic Standard & C o r p orate Identity Manual
AngguN
Corporate Mark
Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
Symbol
Logotype
AngguN
Grid-Vertical Format
Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
13
1
2
0.8 0.5
1 Unit
Protection Space
Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
Protection Space
Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
The classical orders[10] here illustrated by the Temple of Hephaestus in Athens, showing columns with Doric capitals are largely known through the writings of Vitruvius, particularly De Archetura (The Ten Books of Architecture) and studies of classical architecture by Renaissance architects and historians. Within a classical order elements from the positioning of triglyphs to the overall height and width of the building were controlled by principles of proportionality based on column diameters. Typically Ionic column bases are molded and about 1/2 the diameter of the column. They reduce in detail from the Temple of Artemis of Ephesus built c 560 BC and the Heraion of Samos c 550 BC to elongated detail in the Temple of Athena c 535 BC, then begin to soften their lines in the Temple of Nike at Apteros c 342 BC and begin to emphasise circular rounds in the north porch of the Erechteum c 421 BC. This establishes the elements of the form which remains virtually unchanged through the Temple of Fortuna c 40 BC, the Baths of Diocletian AD306,andthe classical Greek orders of Andrea Palladio in the 16th century. Long before the Greeks international trade and commerce led to standardization of units and the facilitation of calculations in unit fractions throughout the civilized world. In architectural terms,the dimensions of structural elementslikepostbeams, columns, arches, openings and fenestrations constructed of wood and stone were slowly standardizedasreg ardthe expected load and span so that a given dimension could support a given load without failure.By way of contrast to the elongated Ionic order, Doric orders never became so slender as to require a base but do have entasis as the column shaft tapered upwards like a degree of the Earth's surface. The column shafts of the Doric order are always fluted and twenty flutes is the usual number. The column capital has an abacus square in plan and a rounded echinus which supports it. The Doric entablature has a deep plain architrave, large Triglyphs in the frieze and a series of mutles in the cornice sloping as the roof rafters of a wooden structure. The greatest change in the dentiled entablature from Ionic through Corinthian is in the addition of the frieze and scrolled modillions to the cyma in Corinthian styles. The proportions of entablature to parapet remain the same at 2:2 in all styles as do the proportions of cap, die and base at 1/4:1:3/4 in the parapet. In all styles the Cornice has the proportion of 3/4 but the frieze and architrave vary from 3/4:1/2 in the Doric style to 5/8:5/8 in the Ionic and Corinthian styles. Capitals are 1/2 in all styles except Corinthian which is 3/4. The shaft width is always 5/6 at the top. Column shaft heights are Tuscan 7, Doric 8, Ionic 9 and Corinthian 10. Column bases are always 1/2. In the Pedestal, caps are always 1/4, dies are 8/6 and bases are 3/4. In the quarter of the column entasis, Tuscan styles are 9/4, Doric are 10/4, Ionic are 11/4 and Corinthian columns are 12/4. Having established the column proportions we move on to its arcade which may be regular with a single element at a spacing of 3 3/4 D, coupled with two elements at 1 1/3 D spaced 5 D, or alternating at 3 3/4 spaced 6 1/4 D. Variations include adding a series of arches between column cap and entablature in the Renaissance style arcade, adding a keystone in the archivolt in the Roman style arcade, and adding more detail in the Palladian arcade. Exterior door widths W, have trim 1/5 W for exterior doors and 1/6 W for interior doors. Door heights a re 1 D less than column heights. Anciently if a door is two cubits or between 36" and 42" in width, then its trim is between a fist and a span in width.
Identity Colour
Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
Dark Red
Green
Brown
Colour Usage
Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
CMYK / Process
RGB Web / On Screen
Hexadecimal HTML
C26 M100 Y100 K31
R141 G24 B27
#8D181B
Green
C62 M32 Y100 K5
R120 G146 B65
#789241
Brown
C30 M60 Y93 K15
R162 G104 B48
#A26830
Colour Dark Red
Tint Dark Red
100
90
80
70
60
50
40
30
20
10
Green
100
90
80
70
60
50
40
30
20
10
Brown
100
90
80
70
60
50
40
30
20
10
Single Colour Usage
Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
Positive
Negative
Single Colour Usage
Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
Positive
Negative
Black & White Usage
Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
Positive
Negative
Incorrect Logo Usage
Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
The examples below demonstrate incorrect uses of the ANGGUN logo.
Useable Typefaces (fonts) Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
Dschidda
(Title or Header)
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 Garamond (Body Text) ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789
Corporate Identity Design Guideline Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
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Corporate Identity Design Guideline Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
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Corporate Identity Design Guideline Anggun A Baby Courtyard Boutique Hotel Kuala Lumpur
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