soundscreen design manual

SOUNDSCREEN

SOUNDSCREEN

Design Manual

S O U N D S C R E E N

CO NTE NT S

INTRO D U C TI O N ID E NTIT y

Origin of the symbolCreating the symbolClear spaceColor usageSmallest allowed sizeIdentity typographyUnacceptable usageBackground usagePhotography usage

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4

Design Manualpg. 1

C A MPA I G N

Setting the toneUsage in environmentExecution

A PPLI C ATI O N S

Setting the toneColor and placement Execution

section 2 section 3

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S O U N D S C R E E N pg. 2

San Francisco is a big, wonderful city to live in. We have diversity, ideas, culture, great food, inspiring artists, a booming technology industry, and opportunity. We also have one unavoidable issue that plagues every major city; noise pollution. With nearly one million residents, workers and tourists living and moving within our 49 square miles, it can get loud, and it can get stressful.

Vonstant noise is something that we have just learned to live with, to accept, and to do our best to ignore. Noise pollution has not been an issue that citizens consider urgent or particularly threatening, but it does have serious implications to our mental and physical health.

A FE W S TATI S TIC S :

San Francisco averages 1,300 noise complaints a year.

$4 billion a year is spent nationally on excessive noise costs.

Noise excess lowers property values in the billions of dollars in the U.S., especially around busy streets and airports.

Since 1995, there has been a 31% rise in hearing loss, particularly among young males.

WHO (World Health Organization) estimates that every 3 out of 100 deaths from heart disease may be attributed to noise pol-lution, making it the environmental killer second only to air pollution.

Studies have proven that constant exposure significantly reduces learning and task ability.

Utilizing advanced noise cancellation technology, receivers placed atop street lamps and traffic signal poles create an invisible noise buffering screen around the traffic laden roads. This screen emits sound waves that are inverse to the noise created on the road. The results are a significant reduction of traffic noise outside of the screen, creating a much quieter, more serene environment for pedestrians and building occupants. The receivers can be easily attached to a variety of surfaces, allowing for sound isolation of construction sites, road work, music venues, and festivals.

In order to maintain the safety and operation of the city streets, a few parameters are set for the screen. Noise coming from the street through the screen travels ten to twenty feet past the screen before being buffered out, depending on the amplitude. This ensures that pedestrians can hear a car horn or the sound of an accident if it is within close proximity. Cer-tain frequencies are allowed to pass through the screen unbuffered, such as police and fire truck sirens, to ensure their effectiveness. Sound com-

SOUNDSCREENBuffering the Noise

Design Manualpg. 3

SoundScreen is a civic program engineered to significantly reduce noise pollution throughout San Francisco.

ing from outside of the screen passes through unbuffered, so a pedes-trian can alert a driver or call for a taxi, or alert another pedestrian across the street.

Creating a strong identity and awareness campaign for SoundScreen is vital to informing the public about the presence of the program, the reasoning for its installation, and the desired goals to be achieved. The arrival of the sense of calm and quiet in San Francisco is to be equated with SoundScreen, allowing the citizens to witness the benefits of their tax dollars.

These identity guidelines ensures that the integrity and effectiveness of the brand stay intact, and that the carefully laid out program isn’t tar-nished within the minds of our citizens.


A logo is the first touch-point a person comes into contact with when encountering an organization. It can create a strong sense of identity forever linked in association, or create confusion and uncertainty in a brand image.

When creating the symbol for SoundScreen, there was one important aspect that needed to be conveyed; the blocking of noise. In order to show this, the visual form of sound was wrapped around an invisible shield, sound bending around an impenetrable barrier. The center of the symbol is an area of calm, the eye of the storm, where the sound and stress of a busy street cannot touch.

The type placed in the center of the symbol had to communi-cate a couple of things. It has to be visually strong enough to not get lost alongside the framing noise waves, as well as the fast moving streets in the busy section of downtown. An open-ness in the letterforms lends a sense of breath ability and space, as pedestrians don’t need to be reminded of how crammed the sidewalk can be.

Fig 1.1

Fig 1.1 Chart depicting noise waves.

Fig 1.2Example of a sound barrier.

Fig 1.2

SyMBOL ORIGINThinking behind the Logo

+ =

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Design Manualpg. 7

Fig 1.3SoundScreen logo.

Fig 1.3

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CRE ATING THE SyMBOLBuilding on a Grid

Noise waves have no form or pattern, they are without structure, which makes it difficult when transferring the image into a bal-anced symbol. In order to remedy this, the forms were built on an evenly spaced grid, based on divisions of the leading space between the word mark. Using this grid helps create some orga-nization in what is otherwise an unorganized, unyielding shape.

Fig 1.4

Fig 1.4SoundScreen logo on grid formed from leading space.

x

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Design Manualpg. 9

Clear Space

The logo, once again, can likely have the strongest association with an organization. It is very important that it’s integrity is kept throughout any situation that it will be seen. This can include printed material, woven items, online presence and stationery.

Keeping a clear area around the logo helps to keep it unhindered by any surrounding images. For SoundScreen, where a sense of tranquility is of utmost importance, clear space is appropriate.

The spacing is based on the height of the type in the mark, applied to the terminating ends of the noise waves.

Fig 1.5

Fig 1.6

Fig 1.5SoundScreen logo clear space.

Fig 1.6Example of clear space boundaries.

I D E N T I T y

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SyMBOL COLORSReasoning with Color

Color often has the biggest impact on a viewer when an identity presents itself, with the potential to tie very strong associations to a brand when viewed. It is vital to utilize a color set that is appropriate, and one that will have impact wherever seen.

The SoundScreen identity required a color palette that would have enough impact to have presence on the chaotic city streets, yet not be so loud that it abandons the image of calmness. The vivid, earthy nature of PMS 145 is used to resolve these require-ments. It is a color that strong enough to be seen across a variety of uses and backgrounds, yet can be used as the subdued coun-terpart to stark white or black.

Fig 1.7

S O L I D B L AC k

Pantone BlackHex: 000000

R 0, G 0, B 0C 0, Y 0, M 0, K 100

S O L I D W H I T E

Pantone WhiteHex: FFFFFFR 255, G 255, B 255

C 0, Y 0, M 0, K 0

N AT U R A L O R A N G E

Pantone 145

Hex: E58E1AR 229, G 142, B 26

C 0, M 47, Y 100, K 8

Fig 1.7SoundScreen logo in multi-color.

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Design Manualpg. 11

Color Variations

A variety of logo color orientations are needed to accommo-date the various applications that will be used. Black and white variations are utilized when color usage is not an option. Multi-color variations are utilized when the logo is placed on solid backgrounds, either white, black, or subdued tones. Full, single color variations are utilized when the logo is placed on back-grounds of various tones.

Fig 1.8 Fig 1.9

Fig 1.10 Fig 1.11

Fig 1.12 Fig 1.13

Fig 1.8SoundScreen logo in black and white.

Fig 1.10SoundScreen logo in multi-color.

Fig 1.12SoundScreen logo single color.

Fig 1.9SoundScreen logo reversed out in black and white.

Fig 1.11SoundScreen logo in reversed out in multi-color.

Fig 1.13SoundScreen logo in single color.

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SyMBOL DIMENSIONSPrint Sizes

The SoundScreen identity will be applied to many various applications, ranging from large banners spanning several feet, to the bottom of flyers tucked next to small print. In order to ensure that the identity remains legible across all materials, a minimum allowed size must be defined.

The smallest allowed printed size of the SoundScreen logo is 0.5x0.1875 inches.

Fig 1.14

Fig 1.15

Fig 1.16

Fig 1.17

Fig 1.14SoundScreen logo at 4.75 inches.




Design Manualpg. 13

Digital Sizes

Along with the printed dimensions of the identity, pixel sizing must be defi ned to accommodate web and mobile presence. The minimum pixel dimensions for the SoundScreen logo is 85x30px.

Fig 1.18

Fig 1.19 Fig 1.20 Fig 1.21

Fig 1.18SoundScreen logo at 85x30px.

Fig 1.3Iphone button, 57x57px.

Fig 1.19Iphone button optimized for retina screens, 114x114px.

Fig 1.3Favicon button, 16x16px.

I D E N T I T y


SyMBOL USAGEUnacceptable Alteration

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The SoundScreen identity needs to be uniform and consistent wherever it is used in order to build strong recognition to view-ers. Altering the logo in any matter must be avoided.

Fig 1.22

Fig 1.23

Fig 1.24 Fig 1.27

Fig 1.26

Fig 1.25

Fig 1.22Do not change the typeface.

Fig 1.24Do not alter the color.

Fig 1.26Do not alter the color orientation.

Fig 1.23Do not stretch.

Fig 1.25Do not sketch or outline.

Fig 1.27Do not remove or separate logo elements.

Design Manualpg. 15

SOUNDSCREENSOUNDSCREEN

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Fig 1.28

Fig 1.29

Fig 1.30 Fig 1.33

Fig 1.32

Fig 1.31

Fig 1.28Do not change type orientation.

Fig 1.30Do not texturize.

Fig 1.32Do not add 3D effects.

Fig 1.29Do not add filter effects.

Fig 1.31Do not change symbol orientation.

Fig 1.33Do not blur.

I D E N T I T y


SyMBOL BACkGROUNDAccepted Background Usage

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In order to maintain a strong identity presence, the Sound-Screen logo must be visible at all times. Setting background parameters for the logo is an important part in keeping this.

Solid tones and materials with subtle texture are the most ideal backgrounds for the logo, in which case the multi-colored logo should be used. In the case of placing the logo on photogra-phy, such as in campaign materials, images must be generously desaturated. The full color logo should be used when on top of images, and placed in an area where there is little contrast.

Fig 1.37

Fig 1.38

Fig 1.39

Fig 1.34

Fig 1.35

Fig 1.36

Fig 1.34White background.

Fig 1.36Subtly textured background.

Fig 1.38Highest contrast level allowed on im-age background.

Fig 1.35Black background.

Fig 1.37Light, even-toned section of image background.

Fig 1.39Dark, even-toned section of image background.

Design Manualpg. 17

Unaccepted Background Usage

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The SoundScreen logo should never be placed on materials with heavy texture or vivid colors. Background images must not be high in contrast or color.

Fig 1.43

Fig 1.44

Fig 1.45

Fig 1.40

Fig 1.41

Fig 1.42

Fig 1.40Do not place on uneven surfaces.

Fig 1.42Do not place on vivid backgrounds.

Fig 1.44Do not place on highly textured surfaces.

Fig 1.41 Do not place on top of type.

Fig 1.43Do not place on busy image backgrounds.

Fig 1.45Do not place on high-contrast image backgrounds.

I D E N T I T y


IDENTIT y T yPOGRAPHyCommunicating Consistently

Typography defines the voice and tone of an identity. Any mes-sage spoken will be through the character and nuances of the typefaces chosen. That character must reflect the organization, whether it is light hearted or serious. There are several different typefaces used to communicate the SoundScreen identity.

Brandon Grotesque Black lends a strong, bold face that has presence across all materials, but keeps an approachability with slightly rounded corners and open counters. Setting a large tracking space further increases the breathing room and open-ness of the type.

John Baskerville Bold Italic lends an ornate, slightly secretive voice to the identity. It is the whispered punch line to the state-ment posed by Brandon Grotesque.

John Baskerville Regular is used for any informative body copy. It is straightforward, while still being tied in to the character set by the other faces.

PE ACE OF MINDis simply well-spaced type

And here is Robert Bringhurst to back it up. Inconsistencies in letter fit are inescapable, given the forms of the Latin alphabet, and small irregularities are after all essential to the legibility of roman type. Kerning – altering the space between selected pairs of letters – can increase consistency of spacing in a word like Washington or Toronto, where the combinations Wa and To are kerned. But names like Wisconsin, Tubingen, Tbilisi and Los Alamos, as well as common words like The and This, remain more or less immune to alteration.

Hand compositors rarely kern text sizes, because their kerning pairs must be manually fitter, one at a time. Computerized type-setting makes extensive kerning easy, but judgment isn’t any easier to come by. Too little kerning is preferable to too much, and inconsistent kerning is worse than none.

In digital type, as in foundry type, each letter has a standard width of its own. But computerized typesetting systems can modify there widths in many ways. Digital fonts are generally kerned through the use of kerning tables, which can specify a reduction of increase in spacing for emery possible pair of let-ters, numbers of symbol. But this means, space can be auto-matically added to combinations like HH and removed from combinations like Ty. Prefabricated kerning tables are now routine components of well-made digital fonts, the they still

sometimes require extra editing to suit individual styles and requirements. If you use and automatic kerning program, test it thoroughly before trusting its decisions, and take the time to repair its inevitable shortcomings.

Kerning tables generally subtract space from combinations such as Av, Aw, Ay, ‘A, ‘L, and all combinations in which the first ele-ment is T, V, W or Y and the second element is anything other than b, h, k or l. Not all such combinations occur in English, but a good kerning table will accommodate names such as Tchai-kovsky, Tmolos, Tsimshian, Vazquez. Especially at larger sizes, it is common to kern combinations involving commas and periods.

Numbers are often omitted from kerning tables, but numbers often need more kerning than letters do. Most fonts, both metal and digital, are equipped with tabular figures – figures that all have identical set width, so columns of typeset figures will align. If you are forced to use such a font, heavy kerning will be required. A good font will give you proportional figures instead. A digital font in the Opentype format may offer you four choices: proportional and tabular lining (tilting) figures, and proportional and tabular old-style (text) figures. No matter how the figures are cut, when used in text, they are likely to need some kerning, to each other and to the en dash.

Design Manualpg. 19

Brandon Grotesque Black

ABCEFGHIJkLMNOPQRSTUV WX yZ1234567890!#%&({: ;? ”<+

John Baskerville Regular

ABCEFGHIJKLMNOPQRSTUV WXYZabcdefghijk lmnopqrstuv wxyz1234567890!#%&({:;?”<+

John Baskerville Bold Italic

A BCEFGHI JKLMNOPQRS T U V W XY Zabcdefghi jklmnopqrstuvwxyz123456789 0!#%&({:;?”<+

I D E N T I T y


IDENTIT y PHOTOGRAPHySetting the Setting

Photography plays a strong roll in the SoundScreen cam-paign. Images are used to help transport viewers to a calmer, more tranquil setting, one that is disassociated with the busy, hectic city streets. Making sure that the style of photography remains consistent will strengthen the impact and effective-ness of the campaign.

Images used are of relaxing, tranquil settings. Settings that you don’t associate with or encounter on busy San Francisco streets. These can range from the snow-covered forests of the North-East to the sun-soaked beaches of the Caribbean.

To remove the images from their stressful environment sur-roundings, they are to be considerably desaturated, giving only slight tones in color. This also creates a more consistent back-drop for the typography and logo to be placed upon.

Creating a dreamy, slowly moving setting, the images are blurred and out of focus, yet still identifi able. The effect is as if the typography and logos are placed on a window, shot in focus, and the setting is on the other sided of the glass, just out of focus, as if the viewer is looking into the storefront of a tranquil, serene location.

Fig 1.46

Fig 1.47

Fig 1.48

Fig 1.49

Fig 1.46Accepted image color spectrum.

Fig 1.48Appropriate green spectrum.

Fig 1.49Appropriate orange spectrum.

Fig 1.47Appropriate blue spectrum.

Design Manualpg. 21 I D E N T I T y


PRINT CA MPAIGN Setting the Stage

In order to inform the citizens of San Francisco, the Sound-Screen environmental campaign is carried out on the streets and sidewalks of the city. These posters, banners and billboards are exposed to the areas that SoundScreen will be used, in high-density areas with a constant traffic flow, aiming for the exact target audience.

The campaign plays the biggest part in setting the tone and voice of the organization. It speaks directly to the audience, so it is important to speak in a manner that they can relate to, and to do so quickly. Creating a sense of tranquility on the busy street is a main goal of SoundScreen, but placing a serene message on top of a serene image of a serene setting will be quite frankly ignored. San Francisco is a unique city known to house quirky residents, and the campaign reflects that character. It is obvi-ous that the downtown setting can be hectic and stressful, with SoundScreen, it is much more at ease. The campaign enforces that idea, poking at some of the known aspects of the hectic life-style, while making sure to highlight the advantages of a much quieter setting.

Humor is used to deliver the message, as any reason to lighten the commute can surely be appreciated. The messages will be short, not going over three sentences. Downtown moves quickly, and people on the move won’t take the time to ready lengthy copy. The image styling detailed in the photography section is to be used as the backdrop for the message.

The campaign is to be carried out on the street level, where it will be most visible to pedestrians and commuters. Carried out consistently, the pieces will create a clearly visible, and recogniz-able voice throughout the city. One that will signify the presence of SoundScreen, and the presence of a calmer, less jarring city.

Design Manualpg. 25

Poster

C A M PA I G N


Construction Barrier

Design Manualpg. 27 C A M PA I G N


Full Bus Wrap

Design Manualpg. 29 C A M PA I G N


Newspaper Vending Billboard

Design Manualpg. 31

Taxi Billboard

C A M PA I G N


Street Banner

Design Manualpg. 33

Bus Stop Poster

C A M PA I G N


PROMOTIONAL APPLICATIONConsumer Experience

Carrying the branding of SoundScreen onto secondary and promotional items needs to be consistent in maintaining the character and voice of the organization. The items that will be branded are related to the subject, to the people who will use them while walking the sidewalks of San Francisco, and com-muting home from work.

The natural orange color that signifies the SoundScreen logo is used throughout the promotional materials to further strengthen the presence of the organization in the public. It is a strong enough color to be noticeable in a crowded setting, which is where it will most often be.

The tongue-in-cheek character of the campaign is carried over as well, though not delivered in the same manner. When appro-priate, three word, disjointed technical descriptions are applied to the otherwise everyday items.

The promotional items must fit under the identity umbrella of the organization, strengthening and further defining its voice and goals.

Design Manualpg. 37

Business Card

HELLO THEREPleased to meet your acquaintance

SOUNDSCREEN

BRANDON [email protected]

124 POST STREETSAN FRANCISCOCA 94104

A P P L I C AT I O N S


iPhone Application Button

Design Manualpg. 39

Website



Special Edition Clipper Card

Design Manualpg. 41 A P P L I C AT I O N S

Umbrella


Messenger Bag

Design Manualpg. 43

Commuter Mug



Sleep Mask


Sound-isolating Earphones


Smart Car


Stress Relief Doll

S O U N D S C R E E N

Design Manualpg. 49

COLOPHON

P R I N T E D O NNeenah Fox River Select, Arctic White, 80lb Cover

P R I N T E REpson r1900

D E S I G N E D B yBrandon Lee

P H O T O G R A P H yStreet images photographed by Brandon Lee, Product images sourced from compfight.com, Scene settings sourced from compfight.com and edited by Brandon Lee

T y P O G R A P H yType set in Brandon Grotesque Black, John Baskerville Regular and Bold Italic

A C A D E M y A R T U N I V E R S I T ySummer 2011Designed by Brandon LeeInstructor: Darrell Hayden

soundscreen design manual

Documents

noise complaints

vonstant noise

major city noise pollution

excessive noise costs

noise pollution

screen unbuffered

screen travels

fe w s tati s tic s