a brand identity guide
Published in 2014
:
University of North Texas 1155 Union Circle Denton, Texas 76203 Designer
:
Trent Stephenson
bookcontents
logo
:
8
type
:
12
color
:
18
office
:
22
signage
:
28
extra
:
32
a brand identity guide
“a logo does not sell, it identifies.� paulrand
logotypespecifics
philosophy
:
Great designs address functionality and performance as well as beauty. TOTO leaves nothing to chance when it comes to design. We embrace holistic design principles because performance, quality, functionality and ultimately, customer satisfaction, are just as important as aesthetics. Backed by precision engineering and global manufacturing, the TOTO brand, is constantly striving to perform and look better than the competition.
innovation
:
With unrivaled vision and innovation expertise, TOTO leads and never follows in designing, engineering, refining and delivering innovative technology that enhances your daily life. TOTO’s newest “dot” or “droplet” design innovations, translate into the best performance features for our growing corporation, without extracting the equity built around our original identity.
:9
logotypespecifics
LOGO SIZE : W 2.6544” X H 0.5484”
DOT SIZE : W 0.0035” X H 0.0755”
scale and proportion
:
Scale and proportion principles play an important role in helping the designer organize the brand image and are a vital part of TOTO’s identity. With elements such as, die cutting involved in various sectors of this innovative design scheme, accurate measurement and scaling is paramount for proper use of this new logotype.
10 :
logotypespecifics
misrepresentation
1 : scribble effects 2 : drop shadows 3 : blur effects
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1:
4:
7:
2:
5:
8:
3:
6:
9:
4 : distortion effects 5 : 3D effects 6 : wave effects
7 : shape changing 8 : arc effects 9 : streching effects
: 11
“typography
is the craft of endowing human language with a durable visual form.� robertbringhurst
typefacehistory
DIN ALTERNATIVE
caecilia lt std
DIN stands for Deutsches Institut fĂźr Normung (German Institute for Standardization.) The DIN 1451 typeface was designed in 1936 for road and railway signage. It remained in use for German number plates until 2000. Linotype markets a digital version of the original font while Albert-Jan Pool created a very versatile family of DIN typefaces (FF DIN) for Fontshop. FF DIN is more geared towards commercial applications.
This Linotype typeface was designed in 1990 by Peter Matthias Noordzij (PMN), and named for his wife, Caecilia. Because its shapes are humanist rather than geometric, PMN Caecilia is easier on the reader’s eye and so more useful as a text typeface than most slab serif designs.
: 13
typefacehistory
DIN ALTERNATIVE DIN ALTERNATIVE DIN is for Deutsches Institut f端r Normung (German Institute for Standardization.) The DIN 1451 typeface was designed in 1936 for road and railway signage. It remained in use for German number plates until 2000. Linotype markets a digital version of the original font while Albert-Jan Pool created a very versatile family of DIN typefaces (FF DIN) for Fontshop. FF DIN is more geared towards commercial applications.
DIN is for Deutsches Institut f端r Normung (German Institute for Standardization.) The DIN 1451 typeface was designed in 1936 for road and railway signage. It remained in use for German number plates until 2000. Linotype markets a digital version of the original font while Albert-Jan Pool created a very versatile family of DIN typefaces (FF DIN) for Fontshop. FF DIN is more geared towards commercial applications.
DIN ALTERNATIVE
DIN ALTERNATIVE
DIN is for Deutsches Institut f端r Normung (German Institute for Standardization.) The DIN 1451 typeface was designed in 1936 for road and railway signage. It remained in use for German number plates until 2000. Linotype markets a digital version of the original font while Albert-Jan Pool created a very versatile family of DIN typefaces (FF DIN) for Fontshop. FF DIN is more geared towards commercial applications.
14 :
DIN is for Deutsches Institut f端r Normung (German Institute for Standardization.) The DIN 1451 typeface was designed in 1936 for road and railway signage. It remained in use for German number plates until 2000. Linotype markets a digital version of the original font while Albert-Jan Pool created a very versatile family of DIN typefaces (FF DIN) for Fontshop. FF DIN is more geared towards commercial applications.
typefacehistory
caecilia lt std caecilia lt std
The Linotype typeface Caecilia was designed in 1990 by Peter Matthias Noordzij (PMN), and named for his wife, Caecilia. Because its shapes are humanist rather than geometric, PMN Caecilia is easier on the reader’s eye and so more useful as a text typeface than most slab serif designs.
The Linotype typeface Caecilia was designed in 1990 by Peter Matthias Noordzij (PMN), and named for his wife, Caecilia. Because its shapes are humanist rather than geometric, PMN Caecilia is easier on the reader’s eye and so more useful as a text typeface than most slab serif designs.
caecilia lt std caecilia lt std
The Linotype typeface Caecilia was designed in 1990 by Peter Matthias Noordzij (PMN), and named for his wife, Caecilia. Because its shapes are humanist rather than geometric, PMN Caecilia is easier on the reader’s eye and so more useful as a text typeface than most slab serif designs.
The Linotype typeface Caecilia was designed in 1990 by Peter Matthias Noordzij (PMN), and named for his wife, Caecilia. Because its shapes are humanist rather than geometric, PMN Caecilia is easier on the reader’s eye and so more useful as a text typeface than most slab serif designs.
: 15
“color reinforces the quality of design.� pierrebonnard
color variations
PMS // 7461C C M Y K
PMS // 429C R // 28 G // 117 B // 188
// 85 // 50 // 0 // 0
C M Y K
HEX // 1B75BB
C M Y K
C M Y K
HEX // E6E1E5
PMS // WHITEC R // 209 G // 211 B // 211
// 0 // 0 // 0 // 20
HEX // D0D203
R // 231 G // 225 B // 230
// 0 // 0 // 0 // 5
PMS // 427C R // 35 G // 31 B // 32
HEX // 231F20
PMS // 663C C M Y K
HEX // BCBBBA
PMS // BLACKC // 0 // 0 // 0 // 100
R // 231 G // 225 B // 230
0 0 0 10
HEX // E6E1E5
R // 189 G // 187 B // 187
// 0 // 0 // 0 // 30
HEX // 40B4E5
C M Y K
// // // //
PMS // CG4C R // 64 G // 180 B // 229
// 70 // 15 // 0 // 0
C M Y K
HEX // A3A9AC
PMS // 298C C M Y K
PMS // 663C R // 163 G // 169 B // 172
// 0 // 0 // 0 // 40
C M Y K
R // 255 G // 255 B // 255
// 0 // 0 // 0 // 0
HEX // FFFFFF
: 19
colorvariations
PMS // 7461C C M Y K
R // 28 G // 117 B // 188
// 85 // 50 // 0 // 0
HEX // 1B75BB
PMS // 298C C M Y K
// 70 // 15 // 0 // 0
R // 64 G // 180 B // 229 HEX // 40B4E5
full color signature
:
Color provides a strong visual link to TOTO’s brand identity across a wide range of applications. The above specified Blues are the only two colors applicable to the logotype, besides that of black or white, under certain circumstances.
20 :
color variations
PMS // WHITEC C M Y K
// 0 // 0 // 0 // 0
R // 255 G // 255 B // 255 HEX // FFFFFF
PMS // BLACKC C M Y K
// 0 // 0 // 0 // 100
R // 35 G // 31 B // 32 HEX // 231F20
one color signature
:
In situations when only one color is to be applied with this logotype, the choice is simple, black or white. This is an effective way of ensuring consistent representation of our brand identity, without opening the door to poor color choices.
: 21
“it all depends on which side of the desk you’re sitting on.” lenwein
officestationery
importance of stationery
:
Using a well-designed set of stationery in the world of business is important. With that in mind, TOTO has put forth great effort in designing an innovative new set of stationery that reinforces the evolution of it’s identity.
: 23
officestationery
the letterhead
:
The letterhead for this identity was designed to help visually depict a clean, innovative company at first glance. The logotype is displayed in Grey, indicating a die cut being involved, much like the business card example on the previous page.
PAPER SIZE : W 8.5” X H 11” LOGO SIZE : W 2.6544” X H 0.5484” DATE DOT : Caecilia LT Std - Italic - 7pt ADDRESS : Caecilia LT Std - Bold - 7pt BODY DOT : Caecilia LT Std - Roman - 7pt TOP MARGIN : 1” BOTTOM MARGIN : 1” LEFT MARGIN : 1.5” RIGHT MARGIN : 1.5”
20 :
officestationery
ENVELOPE SIZE : W 9.125” X H 4.25” LOGO SIZE : W 2.6544” X H 0.5484” RETURN ADDRESS : DIN ALTERNATE - Bold - 6.5pt ADDRESS STICKER : DIN ALTERNATE - Bold - 6.5pt
the envelope
:
The envelope takes several of the consistent design elements throughout TOTO’s identity and seals them into place on a contrasting black background, much like that of the sleeve to the business card at the beginning of this section.
: 25
“products are made in the factory, but brands are created in the mind.� walterlandor
appliedsignage
identity promotion
:
In the world of business, visibility is an important element in increasing consumer awareness and interest. Intelligent signage branding does not only allow people to gain knowledge of TOTO, but more importantly it will give them an indication as to the nature of the business we do.
: 29
appliedsignage
CUSHION SIZE : Half the size of logotype all around - 3 dots - no exceptions.
how to
:
Strategic placement of the logotype is essential when putting together TOTO’s promotional signage. The corners are the go-to, for consistency, along with a white color palette on a busy background. If narrow proportions arise, turning the logotype ninety degrees clock-wise is the standard.
30 :
appliedsignage
: 31
“excellence is to do a common thing in an uncommon way.� bookert.washington
brandextensions
1:
purpose of extensions
2:
3:
:
Brand extensions are a key component of virtually any branding strategy. Companies like TOTO treat their brands as assets, in order to leverage their equity by launching new products under it’s own name.
1 : company hats 2 : fountain pens 3 : coffee mugs
:33
brandextensions
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5:
6:
4 : keychains 5 : polo shirts 6 : golf balls
34 :
brandextensions
7:
8:
9:
7 : urinal screens 8 : urinals 9 : shower heads
: 35