sheffield creative guild brand guidelines ......a thriving guild the need to uphold creative energy...

SHEFFIELD CREATIVE GUILDBRAND GUIDELINESVERSION 1

SCG BRAND GUIDELINES V1

CONTENTS

02 – 05 ABOUT THE GUILD06 – 44 USING THE LOGOS/COLOUR pALETTE45 – 47 LOGO RULES (DON'TS)48 – 78 CAmpAIGN GRApHICS79 – 85 TypOGRApHy86 – 88 pATTERN

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ABOUT THE GUILD AND COmmUNICATING IT'S VALUE

Sheffield Creative Guild is like nothing else. We should be proud of it and our involvement in it. We want our members, partners, ambassadors and pioneers to be proud to be part of it too – to show their support with pride and conviction.

That’s why this brand guide is vital. It not only contains guidance on how verbally we communicate everything that we are, but how visually we share that, using a strong visual identity consistently, effectively and boldly.

The visual and verbal identities are core to the nature and character of the guild. Fundamental to those identities are two characteristics: creativity (of course!) and energy. Never let those go. Everything we do must be appealing because it is brimful of creative energy. We should hold on to that as a guiding principle of our communications and activity – it’s what makes the guild compelling, dynamic and evolving.

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A THRIVING GUILD

The need to uphold creative energy as the kind of guiding principle for our communications is this – it reflects the ‘place’ we want the guild to be. It's success relies on a kind of critical mass – a number of active, diverse, curious members who fuel the richness, variety and capabilities of the guild and give it the momentum it needs. As we launch, even without those members, we have to appear already alive with a flourishing creative community. If anything we say, do, offer up or produce looks and feels flat, one-dimensional, passive, it will fail to cultivate the kind of body we need to sustain.

That’s why verbally we are active, assertive, direct, personable, encouraging: there is energy and vitality in what we say. Visually, we are strong, confident, varied, playful: there is colour and freedom and choice that we can’t be afraid to use.


SHEFFIELD CREATIVE GUILD IS ALL OF US, TOGETHER, FROm ALL DISCIpLINES. THERE ARE NO TRIBES HERE, NO HIERARCHIES.

WE ARE AS DIFFERENT AS CROCHET AND CODINGWE ARE OLD HANDS AND FRESH BLOOD – LEADERS AND LEARNERS

BUT WE ARE ALL CREATIVE, AND THAT mAkES US EqUALSAND WE LOVE AND BELIEVE IN WHAT WE DO

AND THAT CONNECTS AND UNITES US LIkE NOTHING ELSEIT NOURISHES AND ENHANCES WHAT WE CAN DO, TOGETHER

AND IT mAkES OUR CITy VITAL, BRIGHTER, STRONGER.EASIER TO SEE, mORE SHINING AND SpECIAL THAN EVER

THAT CONNECTION ExpANDS US AND INSpIRES US AND OpENS US Up TO ALL kINDS OF WONDERFUL HAppENINGS

WHEN WE ARE ALL IN.


This is what we want people to feel and know about the guild – visually, everything this guide helps you to create must underpin and express the same pace, drive and ambition. That’s why the design is bold, distinctive, sturdy and assertive. Have fun with it so that visually we appear dynamic, flourishing, alive, feeding the understanding we want to create.

If you have any questions about using this guidance please direct them to [email protected]


THE LOGOS

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Our logo design refers to one of the key principles of the guild – equality. The logo comprises two shapes on a balance beam, supported by a third shape. It represents how the guild offers a platform for the coming together of diverse elements, a support for all kinds of activity. We use this device not only as the logo but as the basis for campaign communications, and decoratively. you’ll find more about how to do that later on. For now, this section sets out the use of four types of logo.


HOW TO USE THE LOGOS

There are four versions of the logo to choose from:

Logo 1 (Standard use logo)Logo 2 (Display use logo)Logo 3 (Display use logo)Logo 4 (Display use logo)

Each logo has it's own specific uses, and each logo can be used in a variety of ways. The following pages demonstrate each of the four logo variations and how to use them correctly.


LOGO 1 (STANDARD)

LOGO 3 (DISPLAY)

LOGO 2 (DISPLAY)

LOGO 4 (DISPLAY)

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LOGO 1 (STANDARD USE)

This is the standard use logo and the one you’ll use most. you could consider it the ‘branding’ logo – it gives the type the most space, so it’s the one to use when telling people who you are really matters.

It is the one that works best at smaller sizes – so it’s perfect in a ‘supporting role’, say if the logo is appearing alongside other logos in a list of partners or sponsors. It would be the one you’ll use mostly in ads, posters and other branded marketing. And it is THE ONLy ONE yOU SHOULD EVER SEND OUT TO A THIRD pARTy.

The other logos are yours to play with, but shouldn’t be ‘out there!’

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LOGO 1 (STANDARD USE)


COLOUR pALETTE

The Sheffield Creative Guild colour palette is made up of nine colours. There is the chance for real variety here – it’s one of the ways we can show that the guild is creative, flexible, human and dynamic, so be playful.

NOTE: The primary logo colour is deep blue.

The following pages demonstrate the technical specifications for each colour on a white and deep blue background.

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PINK

RGBR238/G155/B170

CMYKC0/M60/Y0/K0

HEXED73A9

ORANGE

RGBR255/G102/B0

CMYKC0/M70/Y100/K0

HEXFF6600

RED

RGBR227/G6/B19

CMYKC0/M100/Y100/K0

HEXE30513

FLURO (SCREEN ONLY)

RGBR0/G255/B170

CMYKC51/M0/Y38/K0

HEX00FFAA

GREEN

RGBR19/G165/B56

CMYKC80/M0/Y100/K0

HEX12A537

BLUE

RGBR0/G177/B235

CMYKC80/M0/Y0/K0

HEX00B0EB

DEEP BLUE

RGBR29/G25/B50

CMYKC95/M90/Y40/K65

HEX1C1932

GREY

RGBR154/G152/B133

CMYKC45/M35/Y48/K4

HEX9A9785

YELLOW

RGBR241/G229/B13

CMYKC10/M0/Y95/K0

HEXF0E50C



PINK

RGBR238/G155/B170

CMYKC0/M60/Y0/K0

HEXED73A9

ORANGE

RGBR255/G102/B0

CMYKC0/M70/Y100/K0

HEXFF6600

RED

RGBR227/G6/B19

CMYKC0/M100/Y100/K0

HEXE30513

FLURO (SCREEN ONLY)

RGBR0/G255/B170

CMYKC51/M0/Y38/K0

HEX00FFAA

GREEN

RGBR19/G165/B56

CMYKC80/M0/Y100/K0

HEX12A537

BLUE

RGBR0/G177/B235

CMYKC80/M0/Y0/K0

HEX00B0EB

WHITE

RGBR225/G225/B225

CMYKC0/M0/Y0/K0

HEXFFFFFF

GREY

RGBR154/G152/B133

CMYKC45/M35/Y48/K4

HEX9A9785

YELLOW

RGBR241/G229/B13

CMYKC10/M0/Y95/K0

HEXF0E50C

BACkGROUND COLOUR

The colour chart shows the possible colour combinations between the logo and the background. All the colours from the colour palette can be used in any order or configuration.

All versions of the logo and campaign graphics can be used in any of these combination of colours. This helps keep simple elements fresh and vibrant everytime they are used.

NOTE: The more contrasting colour combinations are best used for punch and impact. Colour combinations that blend together are better for subtle background usage.

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USING COLOUR IN THE LOGO (TypE AND SymBOL)

As well as using any single colour within the logo, we can also choose to colour the type element separately from the symbol.

NOTE: When colouring the type separately to the symbol, always make sure to use only deep blue, or white.

The following page demonstrates single colour use, and the rules for how to colour the type separately on dark and light backgrounds.


USING COLOUR IN THE LOGO (CIRCLE AND SqUARE)

Alternatively we can also choose to colour just the circle and the square elements of the logo.

NOTE: Both circle and square should always be the same colour. The balancing beam and triangle section of logo should always be the same colour as the type, which is always deep blue or white.

The following pages demonstrate the rules for colouring the circle and square on dark and light backgrounds.


ExCLUSION AREA RULES

The logo should always be surrounded by a minimum area of space. This is called the exclusion area. The exclusion area ensures that other visual elements do not encroach on the logo.

The exclusion area is proportionately defined by using an element of the logo as a guide. In the case of logo 1 the 'C' square is used. A margin of clear space referred to as x is drawn around the logo to create the invisible exclusion area boundary.

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USING THE ExCLUSION AREA

The exclusion area is also used to define the minimum distance the logo can sit from the egdes of a page or screen.

Logo 1 is designed to work in all four corners of a page, in support of other graphics. The following page shows examples of how the logo uses the exclusion area as a positional guide.

NOTE: The exclusion area for logo 1 is a minimum and should be increased wherever possible.


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THE FOLLOWING LOGOS 2/3/4 ARE ALL DISpLAy USE LOGOS Logos 2,3 and 4 are display logos – they don’t have the main role of branding the guild, but they can be used decoratively. For example, it will be one of these that appears on a tote bag, or in digital ads (where format might make better use of these logo shapes), or on badges or banner stands, or as the backdrop at an event. Display logos are for use where they can appear large, and have a decorative role.

NOTE: Don’t use these where they would have to appear small, in a supporting role. And never issue them to third parties.

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LOGO 2 (DISpLAy USE)


pOSITIONING (LOGO 2)

The display versions of the logo are designed to sit large in the centre of the page or screen. For logo 2, the proportions for the exclusion area is defined by the 'C' square.

The following pages show examples of how the logo uses the exclusion area as a central positional guide on both portrait and landscape formats.



Logo 3 uses our distinctive graphic shape but not the guild name, so it really does play a decorative role. It might appear, for example, on a poster on a publication cover, with a headline or title underneath. It’s a sort of ‘internal use’ logo for internal audiences so, for something like the cover of a conference / AGm guide, it would work well.

NOTE: The proportions for the exclusion area are defined by the 'CREATIVE' square.

The following pages show examples of how the logo uses the exclusion area as a central positional guide on both portrait and landscape formats, with and without headline copy.



Logo 4 really is decorative and only for use on pieces intended for members and those in the know, since it doesn’t explain who we are. It might work well as the badge design. Or used decoratively in pattern or as a large graphic element on posters.

NOTE: The proportions for the exclusion area are defined by the 'C' square. The same rules apply here, regarding the placement of headline text.

The following pages show examples of how the logo uses the exclusion area as a central positional guide on both portrait and landscape formats, with and without headline copy. With logo 1 in a supporting role.


LOGO RULES (DON'TS)

When using the logos, the following rules should be adhered to at all times. These rules apply to all versions of the logo.

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DO NOT SCALE THE LOGOTYPE.

DO NOT ROTATE THE ELEMENTS SEPARATLEY. DO NOT ALTER THE TYPE IN THE SYMBOL. DO NOT ALTER THE SEPORATE LOGOTYPE.

DO NOT MANIPULATE, STRETCH OR CROP THE LOGO. DO NOT DETACH THE ELEMENTS.


DO NOT USE ANY VISUAL EFFECTS.

DO NOT COLOUR THE SEPORATE LOGOTYPE IN ANY OTHER COLOUR THAN DEEP BLUE OR WHITE.

DO NOT USE ANY COLOURS THAT ARE NOT FROM THE SCG COLOUR PALETTE.

DO NOT USE TINTS OF THE COLOUR PALETTE.

DO NOT COLOUR INDIVIDUAL LETTERS. DO NOT COLOUR INDIVIDUAL ELEMENTS.

CAmpAIGN GRApHICS

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ABOUT THE CAmpAIGN GRApHICS

Instead of using the display logos as our central graphic element, we can choose to use campaign graphics. The campaign graphics should be used in the same way as the display logos, BIG AND Up FRONT for use in application such as covers/posters/adverts/bags/badges.

The campaign graphics are used to convey our message of equality, unity and value in a direct and literal way. The message can be as simple or as complex as we need. For this reason, there are two styles of campaign graphics to choose from:

Campaign Style 1 (Single words in shapes)Campaign Style 2 (Single letters in shapes)

NOTE: The same colour rules apply to campaign graphics from the display logos, regarding colouring the text, symbol, circle and square elements.

NOTE: The campaign graphics are for internal use only. Never to be given out to third parties.

The following pages demonstrate the two campaign styles and how to use them correctly.

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CAMPAIGN STYLE 1 CAMPAIGN STYLE 2

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CAmpAIGN STyLE 1

Campaign Style 1 is a direct continuation from the display logos. The style uses the silhouette of the logo (one circle, one square on each side of the balancing beam) and uses one word inside each shape. These words can be an activity or job role, a persons name, the name of a location or even a feeling or emotion. The idea being, that the circle, is equal in value to the square. Equal value is represented graphically by equal weight on the balancing beam. This is why the logo looks the way it does.

The words inside the shapes are to be playfully tilted, to give the graphic impression that the shapes are stacked onto the balance beam like real objects.

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CAmpAIGN STyLE 1


pOSITIONING (CAmpAIGN STyLE 1)

When positioning Campaign Style 1, the proportions for the exclusion area are defined by the square. We also have the opportunity to use campaign specific text. This works in exactly the same way as the headline text and all the same rules regarding size and placement apply.

NOTE: When using ALL campaign graphics, it is essential to also use logo 1 in it's supporting role.

The following pages show examples of how Campaign Style 1 uses the exclusion area as a central positional guide on both portrait and landscape formats, with and without headline copy. With logo 1 in a supporting role.

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ExpANDING THE BALANCING BEAm (CAmpAIGN STyLE 1)

When using the campaign graphics, we can choose to expand the balance beam to suit the format and proportions of the page or screen. The beam can be expanded outwards, but must always be proportional to the triangle and never scaled up or down in size in relation to the cirlce or square.

This is especially good for landscape formats.

NOTE: We can only expand the balance beam on the campaign graphics. DO NOT expand the balance beam on any of the logos.

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CAmpAIGN STyLE 2

Campaign Style 2 is unique in that we are using multiple elements on each side of the balancing beam. It works in exactly the same way as Campaign Style 1, to convey the same message of equal value, except this time, we have a single letter inside each shape, rather than a single word. This allows us more room for complicated longer words, that would be too small inside a single shape.

NOTE: Although Campaign Style 2 is the most flexible, certain rules must always apply. Circles always on the left side, and squares always on the right. All the circles must be the same size in relation to the other circles. The squares must also be the same size in relation to the other squares. (Even when scaled up or down).


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FLExIBLE ELEmENTS (CAmpAIGN STyLE 2)

Another unique aspect of Campaign style 2, is within the flexibility. Not only can we expand the balancing beam outwards, in the same way as Campaign Style 1, but we can also increase the proportions of the circle and squares on the beam.

As mentioned before, the circles must all be the same size in relation to each other, as do the squares, but as a group can be scaled up or down to any size. This is to have more impact and occupy the format it is used in better.

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OFFSETTING THE BALANCE AND BEING pLAyFUL (CAmpAIGN STyLE 2)

Taking the flexibility of Campaign Style 2 further, we can be playful. Again, as a unified group we can scale up or down the circles and squares, but we can also make one side large, and one side small. This emphasizes that idea that difference doesn’t mean inequality – everyone’s hour, their skill, their version of ‘creativity’ is equal.

The only ‘unbalance’ you’ll see is membership Vs non-membership – you’ll see that in the following pages in one of the rare instances we want to imply something is superior, weightier, better – one Vs all.

We can also be playful with subtle rotation and placement of circles or squares. The idea that the circles and squares are stacked like real objects makes for some fun graphic arrangements.


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pOSITIONING (CAmpAIGN STyLE 2)

When positioning Campaign Style 2, the proportions for the exclusion area are defined by the triangle. As the circles and squares are flexible, the triangle is the only consistent element in relation to the proportions of the whole graphic.

Again, we also have the opportunity to use campaign specific text. All the same rules regarding size and placement apply.

NOTE: When using ALL campaign graphics, it is essential to also use logo 1 in it's supporting role.

The following pages show examples of how Campaign Style 2 uses the exclusion area as a central positional guide on both portrait and landscape formats, with and without headline copy. With logo 1 in a supporting role.


THE TypEFACE

Consistent typography is an importat part of the Sheffield Creative Guild identity. The typeface we are using for the main messaging is called knockout. We have two weights of knockout to choose from.

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knockout 49 Liteweight ABCDEFGHIJkLmNOpqRSTUVWxyZabcdefghijklmnopqrstuvwxyz1234567890

Knockout 47 Bantamweight ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890

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USING TypOGRApHy

What we choose to do with the typography depends on how much information we have, and what format it is going to be used in.

As long as we obey the rules for positioning the logos and campaign graphics, we can be as adventurous as we like with the information we have to work with.

The following pages demonstrate a few generic examples of how typography can work round or over the top of the logo/campaign graphics, and how the colours work to enhance legibility. Sometimes the logo/graphics are leading up front, and sometimes they can take a more background role.

NOTE: The following layout examples are for reference only.

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Supporting text here. Supporting text here. Supporting text here. Supporting text here. Supporting text here. Supporting text here. Supporting text here. Supporting text here. Supporting text here. Supporting text here. Supporting text here.

Supporting text here. Supporting text here. Supporting text here. Supporting text here. Supporting text here. Supporting text here. Supporting text here. Supporting text here.

sheffieldcreativeguild.com


Title here.



Large text over graphic. Large text over graphic. Large text over graphic. Large text over graphic. Large text over graphic. Large text over graphic. Large text over graphic. Large text over graphic. Large text over graphic.


USING pATTERN

We can also make use of pattern. The same rules apply regarding using any of our colours from the palette on top of any backgound colour.

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SCG BRAND GUIDELINES V1

sheffield creative guild brand guidelines ......a thriving guild the need to uphold creative energy...

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