03
visual standars guide
_VISUAL STANDARDS GUIDE
TWA
the way of the future
04 | VISUAL STANDARDS GUIDE
CONTENTS | 05
contents INTRODUCTION
06
OUR IDENTITY
09
OUR NEW LOGO
14
MAIN LOGO
12
LOGO COMPONENTS
16
LOGO SYSTEM
18
ANATOMY OF THE LOGO
20
LOGO VARIATIONS
22
DIMENSION RESTRICTIONS
24
LOGO DON’TS
26
OUR VISUAL SYSTEM
29
TYPOGRAPHIC STANDARDS
30
COLORS
37
OUR FUTURE EXTENSIONS
41
SOURCES
48
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introduction
The Polaris or North Star is a symbol and guiding light. It leads seamen and explorer North by direction at night. It guides steadily burning bright. Polaris glows radiant and still, a beacon and sign for travelers that roam at will. Star shaped symbols where used to represent destiny, fame, and stardom by ancient cultures. A symbol that’s representative of what’s above us, is useful and uplifting still. It leads on with skill. We all need a star to guide and inspire us and lead us up and onward. Celestial navigation, as well the instruments developed over the centuries to read the sky and orient ourselves, have always been an intriguing feature of human kind. Together with curiosity has fed the thirst of souls, in a perennial look for answers, constantly rising new questions, leaning towards new research, and looking for further horizons.
INTRODUCTION | 07
08 | VISUAL STRATEGY GUIDE
OUR IDENTITY | 09
our identity
a symbol that’s representative of exploring new frontiers with the gaze of wonder that we all have looking up at the sky.
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“
In more than one respect, the exploring other worlds constitutes the beginning, much more than the end, of history. Travel is broadening. It’s time to hit the road again.
BRAND DESCRIPTION: We want to entitle the brand with the powerful image of the seeker of the unknown by giving it a symbol that’s representative of exploring new frontiers with the gaze of wonder that we all have looking up at the sky. As the American astronomer, Carl Sagan, repetitively expressed in his ideas, we must look forward, the future is ahead, the beginning is in exploring other worlds and expanding the concept of travel. This also constitutes our purpose at TWA. The TWA signature is the most fundamental part of the brand, and it represents the entire company, externally and internally. From product packaging and ads to data sheets and presentations, it functions as a personal sign-off on the ideas the brand’s presenting and sharing. The signature consists of two elements that work together as a whole, and sometimes as a singular entity.
OUR IDENTITY | 11
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OUR NEW LOGO | 13
our new logo
every point, every new challenge, and every human desire for discovery are alike. They all lead to a point of departure.
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main logo
LOGO LOOK AND FEEL: TWA: the way of the future. This is our legacy and it is represented in the new logo, which looks more modern and futuristic. It conveys a feeling of bold strength projected towards unexplored frontiers, with a combination of sharpness, like a bullet cutting through the air, and the elegance of some curvilinear lines in the logotype which recall the rounded shape of a planet. Furthermore, the modification of the letters in the logotype is meant to represent ‘the departure’, the natural detachment that happens when leaving for new horizons.
MAIN LOGO | 15
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logo components SYMBOLISM: The new TWA logo is the final synthesis of the concept that in order to explore uncharted waters there’s the need of take off, a detachment from a prior comfort zone and landing into new worlds, experiencing adventure and discovery.
LOGO COMPONENTS | 17
SYMBOL
WORDMARK
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logo system
SYSTEM: There are three official formats of the logo: the Signature, which is comprehensive of two elements, the Symbol, and the Wordmark.
SYMBOL
WORDMARK
SIGNATURE
LOGO SYSTEM | 19
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anatomy of the logo CLEAR SPACE: The Clear space has been established to ensure the visibility and impact of the logo. The Clear space is an important boundary that should be respected from invasions of sort, such as graphic elements, typography, photography, other logos etc. The Clear space ensures to the logo its vital air and in this terms it is extremely important because it allows the main mark of new TWA to take life and play its role as corporate identity. Preserving this condition by avoiding any kind of obstructions is recommended and necessary. The X height is given by the serif base of the letters, when the serified part is detached from the rest. And gaps in the symbol are meant to maintain the same aperture of above mentioned with and angular inclination that follows the features of letter A.
ANATOMY OF THE LOGO | 21
3.4 X
37 X
3.4 X
23 X
5.8 X
X
26 X
25.5 X
22 | VISUAL STANDARDS GUIDE
logo variations LOGO USE DIRECTIVES: Many projects will necessitate alternate versions of the TWA logo. Use the examples on the right to help determine the appropriate use of the logo. In general, a good use of the logo should be on white or on background colors whose tone is not in conflict with options provided. Use the Reversed versions of the TWA logo on backgrounds lighter than 60%. In all cases, use the Corporate colors (Black/WG6) whenever possible except when working online. Colors are difficult to approximate in a web or video environment. Please see the specifics for web- based color conversions. Additionally, avoid placing the TWA logo over images or other busy background patterns — and never screen the TWA logo — always use at 100%. In onecolor applications, the TWA Primary logo may appear in an alternate color.
LOGO VARIATIONS | 23
SYMBOL WITH BACKGROUNDS
WORDMARK WITH BACKGROUNDS
SIGNATURE WITH BACKGROUNDS
24 | VISUAL STANDARDS GUIDE
dimension restrictions LOGO USE DIRECTIVES: In order to ensure good readability, the logo needs to be shown always following the parameters of dimension restrictions. It is important that the logo is displayed at a size where both the symbol and the trademark are readable and easily recognizable.
DIMENSION RESTRICTIONS | 25
HEIGHT
10M
1M
5CM
1CM
0CM
VERTICAL SIGNATURE
WORDMARK
SYMBOL
26 | VISUAL STANDARDS GUIDE
logo don’ts
Do not apply gradient to the signature elements.
Do not deform the size of the logo.
Do not change color parameters when the logo is reversed.
Do not use low contrast or busy backgrounds.
LOGO DON’TS | 27
LOGO MISUSES: A lot of thought and effort has gone into determining the perfect relationship between the elements that make up our signature; do not attempt to re-create these elements. Always use the approved artwork, and always follow these rules when using it.
the way of the future
Do not rearrange the signature elements in a different order, for instance with the logotype at the top.
Do not associate the signature with a tag line, even if reflects the spirit of the company.
Do not change the word mark with any kind of typeface. The word mark is customized.
Do not wave the symbol in the logo, and change the space between the symbol and the logotype.
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OUR VISUAL SYSTEM | 29
our visual system
design is first and foremost how it works, not just how it looks.
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typographic standards PRIMARY TYPOGRAPHY: There are several reasons why we’ve chosen T-Star for our primary typeface. Strong yet friendly, it helps us communicate ideas in a straightforward, confident manner. Its openness and geometry make it highly legible. And it’s available in regular and italic, and in several weights, allowing maximum flexibility. Please refrain from using other versions of the font. Plain, smooth, and technical, just as designer Michael Mischler intended, the new T-Star is greatly refined and optimized. This font is slender in its proportions and highly economical when it comes to the space taken up by body text. T-Star’s features include low-contrast, uniform line width, laterally flattened, round basic forms, as well as cut-back ascenders and descenders. It’s a plain, technical-style typeface that is slender in its proportions and highly economical when it comes to the space taken up by body text. Its appearance is marked by openness and the individual characters show surprisingly unconventional features.
T-Star is an exemplary typeface for headlines and texts for books and magazine editorials with a welldeveloped font family ranging from light to heavy. T-Star comprise all Eastern European and Nordic characters. For those interested in Cyrillic and Greek characters and languages, check out T-Star Pro.
TYPOGRAPHIC STANDARDS | 31
A
32 | VISUAL STANDARDS GUIDE
T–STAR LIGHT
ABCDEFGHIJKLMNOPQRSTUWXYZ abcdefghijklmnopqrstuwxyz 1234567890!#$%&/@?*+,"-.()=
T–STAR LIGHT ITALIC
ABCDEFGHIJKLMNOPQRSTUWXYZ abcdefghijklmnopqrstuwxyz 1234567890!#$%&/@?*+,"-.()=
T–STAR REGULAR
ABCDEFGHIJKLMNOPQRSTUWXYZ abcdefghijklmnopqrstuwxyz 1234567890!#$%&/@?*+,"-.()=
T–STAR ITALIC
ABCDEFGHIJKLMNOPQRSTUWXYZ abcdefghijklmnopqrstuwxyz 1234567890!#$%&/@?*+,"-.()=
T–STAR BOLD
ABCDEFGHIJKLMNOPQRSTUWXYZ abcdefghijklmnopqrstuwxyz 1234567890!#$%&/@?*+,"-.()=
T–STAR BOLD ITALIC
ABCDEFGHIJKLMNOPQRSTUWXYZ abcdefghijklmnopqrstuwxyz 1234567890!#$%&/@?*+,"-.()=
T–STAR HEADLINE
ABCDEFGHIJKLMNOPQRSTUWXYZ abcdefghijklmnopqrstuwxyz 1234567890!#$%&/@?*+,"-.()=
TYPOGRAPHIC STANDARDS | 33
TWA
34 | VISUAL STANDARDS GUIDE
SECONDARY TYPOGRAPHY 1: Our alternate serif typefaces is Crimson Text, a font CRIMSON TEXT ROMAN family for book production in the tradition of beauti- A B C D E F G H I J K L M n o p q r s t u w x y z 1 2 3 4 5 6 7 8 9 0 ful old style typefaces. CRIMSON TEXT ITALIC There are a lot of great free fonts around, but one kind is missing: those Garamond-inspired types A B C D E F G H I J K L M n o p q r s t u w x y z 1 2 3 4 5 6 7 8 9 0 with all the little niceties like old style figures, small CRIMSON TEXT SEMIBOLD caps, fleurons, math characters and the like. ABCDEFGHIJKLM nopqrstuwxyz 1234567890 Crimson Text is inspired by the fantastic work of people like Jan Tschichold, Robert Slimbach and CRIMSON TEXT BOLD Jonathan Hoefler. We hope that the free type comABCDEFGHIJKLM nopqrstuwxyz 1234567890 munity will one day be able to enjoy Crimson Text as a beautiful workhorse. An easy-to-read typeface CRIMSON TEXT BOLD ITALIC that can be used for body copy in letters, memos ABCDEFGHIJKLM nopqrstuwxyz 1234567890 and faxes.
TYPOGRAPHIC STANDARDS | 35
T
36 | VISUAL STANDARDS GUIDE
SECONDARY TYPOGRAPHY 2: Our alternate typefaces Open Sans and it is strictly for internal use. Open Sans references the clean look of our primary typeface and should be used whenever the primary typeface is not available. Being a Google Font is easy to find and free to download, so to be used within Microsoft Office applications such as Word, PowerPoint, Excel, etc. Open Sans is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. This version contains the complete 897 character set, which includes the standard ISO Latin 1, Latin CE, Greek and Cyrillic character sets. Open Sans was designed with an upright stress, open forms and a neutral, yet friendly appearance. It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letter forms. Its wide variety within its Family makes it a good choice as secondary typeface.
OPEN SANS LIGHT ABCDEFGHIJKLM nopqrstuwxyz 1234567890 OPEN SANS LIGHT ITALIC ABCDEFGHIJKLM nopqrstuwxyz 1234567890 OPEN SANS REGULAR ABCDEFGHIJKLM
nopqrstuwxyz
OPEN SANS BOLD ABCDEFGHIJKLM
nopqrstuwxyz
OPEN SANS BOLD ITALIC ABCDEFGHIJKLM
nopqrstuwxyz
OPEN SANS EXTRA BOLD ABCDEFGHIJKLM
nopqrstuwxyz
TYPOGRAPHIC STANDARDS | 37
W
38 | VISUAL STANDARDS GUIDE
colors
COLOR PALETTE: In order to ensure good visual system, the new TWA follows a simple rule when it comes to colors: the established palette is to be considered as reference and altering the colors will represent a deviation from what’s behind the new concept of TWA. However, in some exceptional cases, will be possible to use different colors, exclusively if necessary, as long as the chosen colors aren’t part of a restricted area in which they’ll be to close to the original palette and it could be taken for a mistake or a misuse of the color coding.
COLORS | 39
TWA BLACK:
TWA RED:
TWA GRAY:
TWA BLUE:
CMYK: 0 | 0 | 0 | 100
CMYK: 0 | 100 | 90 | 0
CMYK: 0 | 0 | 0 | 60
CMYK: 85 | 0 | 15 | 50
RGB: 0 | 0 | 0
RGB: 237 | 27 | 46
RGB: 128 | 130 | 133
RGB: 0 | 109 | 129
pantone coated: 179-16
pantone coated: 48-8
pantone coated: 179-9
pantone coated: 120-15
pantone uncoated: 179-16
pantone uncoated: 48-8
pantone uncoated: 179-9
pantone uncoated: 120-15
40 | VISUAL STANDARDS GUIDE
OUR FUTURE EXTENSIONS | 41
our future extensions
the vanguard of an era, defying the future of exploration to ultimately make it accessible to more people and for more purposes than ever before.
42 | VISUAL STANDARDS GUIDE
a new twa
A GLIMPSE OVER OUR FUTURE EXTENSIONS Pioneering has been a feature trait of TWA since the beginning. What we envision for the future is to push that boundary even further, by seeking the unknown, exploring uncharted waters, and primarily by giving to people an access to new frontiers, for the benefit of life on Earth.
ABBREVIATIONS:
ENVIRONMENT [EN] EVENT [E] SERVICE [S] PRODUCT [P] JOINT VENTURE [JV]
A NEW TWA | 43
44 | VISUAL STANDARDS GUIDE
PLACES: NATURE OF TRAVEL
PEOPLE: NATURE OF PEOPLE
8 22
1
27
19 27
26
34
21 2
29 25 12
31 18
20 28
24
3
30
7 11
9
33
6
5
16
32
35
17
36
23 10 14
15
4
13
THINGS: NATURE OF THINGS
A NEW TWA | 45
EDUCATION:
MEDICAL:
1. TWA Academy [En]
19. TWA Medical Institute [En]
2. TWA STEM Education Program [E+JV]
20. TWA Experimental Lab [En]
3. TWA Mentoring Program [S]
21. TWA Biological Imaging Division [S+P]
4. TWA Educational Material [P]
22. TWA Immunology Center [S+En]
5. TWA Academy Open Day [E]
23. TWA Smart Food Line [S+P]
6. TWA Science Fair [E] 7. TWA Sustainable Future Summit [E]
EXPLORATION: TRANSPORTATION:
24. TWA Underground Division [S]
8. TWA Space Division [En+S]
25. TWA Extreme Environments [S]
9. TWA Spaceport [En]
26. TWA Telescope [P]
10. TWA Gear [P]
27. TWA Future Camp [En]
11. TWA Lounge [En] 12. TWA Spaceliner [S+P]
28. TWA After Life Database [S+P] 29. TWA Observatory [En]
13. TWA Autopilot Program [P]
SOCIAL: RESEARCH: 14. TWA Labs [En] 15. TWA Photon Sciences Lab [En] 16. TWA Quantum Chromodynamics Lab [En] 17. Energy Security Division [En+JV] 18. TWA Environment Division [S]
30. TWA VR Experience [P] 31. TWA Footprint App [P] 32. TWA Interplanetary Park [En] 33. TWA Exodus App [P+JV] 34. TWA Futurists Club [En] 35. TWA TV Series [P]
46 | VISUAL STANDARDS GUIDE
A NEW TWA | 47
48 | VISUAL STANDARDS GUIDE
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_COLOPHON TYPEFACE: TSTAR PRO // MONO ROUND SOFTWARE: ADOBE CREATIVE CLOUD PAPER: EPSON PREMIUM MATTE, HEAVYWEIGHT PRINTING: BLURB, SAN FRANCISCO, CALIFORNIA DESIGNER: VIOLA SPAGNOTTO
THIS IS A STUDENT PROJECT ONLY. NO PARTS OF THIS BOOK OR ANY OTHER PART OF THE PROJECT WAS PRODUCED FOR COMMERCIAL USE.
TWA
the way of the future