Brand Corporate Identity / Task 3B: Brand Guideline

01.11.2022 - 15.11.2022 (Week 10 - Week 12)

Adeline Wong Chyn Nee / 0344017 / Tai Li Lian & Mr. Vinod

Brand Corporate Identity

Task 3B / Brand Guideline

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LECTURES

Lectures 01 to 03 can be found here

Lectures 04 to 05 can be found here

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INSTRUCTIONS

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Task 3B / Brand Guideline

Week 10- Week 12

In this final task, we are to apply our previous works from brand positioning and identity to create a brand guideline. 

In our brand guideline, we have to incorporate a balanced content of the branding, color, typography, visuals, and applications. We have to create a simple brand guideline that is a concise and bespoke guideline for smaller and younger companies or brands.

1. Brand Guideline Development (week 10)

A. Formatting & Margins

I created two different margins and tried them by incorporating some content page information. The first margin size allows space on the left for visuals and other graphic elements while the second one is more uniform and tidy.

Fig. 1.1.1 Margin and Testing

 

 I decided on the second one for a cleaner look, as my brand TO.FUSE has a minimalist and high-class branding direction, so I decided it would be more suitable.

B. Style Direction

Following my brand's image, I have decided to set on a minimalist approach with an element of classiness that resembles the logo's shapes and style. I got inspiration from Pinterest and this is the Pinterest board I've created for this task. 

Fig. 1.2.1 & 1.2.2 Pinterest Screenshot

These are the few which I took a heavy interest in and would like to incorporate elements in my brand guideline. For the color, I am going for a white space style.

Fig. 1.2.3 Pinterest Inspirations #01

Fig. 1.2.4 Pinterest Inspirations #02

Fig. 1.2.5 Pinterest Inspirations #03

C. First Draft

I created a draft for my first chapter to test the waters, I quite like the oblique navigation bar idea and decided to further explore it.

Fig. 1.3.1 First Draft (first chapter)

I also added an oblique-framed image box to make sure of a consistent shape style for my brand TO.FUSE.

Fig. 1.3.2 First draft oblique elements

2. Weekly progression

Week 10

Fig. 2.1.1 Week 10 Progress

Changes made from the first draft: 

- Added home page
- Adjusted visual placement
- Added visuals (and filler images)

Week 11

Fig. 2.1.2 Week 11 Progress

Changes made from week 10: 

- Increased leading between content headings on content page
- Added title page for each chapter
- Added a toggle button for introduction page
- Changed the layout of 4 of 7 pages from the first chapter
- Added chapter 2 "Visual Guidelines"
- Started on chapter 3 "Application"

Week 12

Fig. 2.1.3 Week 12 Progress

Changes made from week 11: 

- Capitalized sub-text on the home page
- Added patterns on the content page and all chapter title pages
- Added the navigation bar on all pages
- Changed the layout of 4 of 7 pages from the first chapter

3. Element Development *(chronically arranged)

A. Navigation Bar Development:

i) Vertical Navigation Bar:

Rollover action: Increased point size and turns bold

Fig. 3.1.1 Vertical navigation bar #01

Rollover action: Capitalized, increased point size, and turns bold

Fig. 3.1.2 Vertical navigation bar #02

Rollover action: Capitalized, increased point size, and turns bold

Fig. 3.1.3 Vertical navigation bar #03

Rollover action: Highlighted

Fig. 3.1.4 Vertical navigation bar #04

ii) Oblique Navigation Bar:

Rollover action: Turns bold

Fig. 3.2.1 Oblique navigation bar #01

Rollover action: Turns bold, positioned under line thingy

Fig. 3.2.2 Oblique navigation bar #02

Rollover action: Turns bold

Fig. 3.2.3 Oblique navigation bar #03

Rollover action: Turns bold

Fig. 3.2.4 Oblique navigation bar #04

B. Content Page Heading & Chapter bars

Improvements: Made the typeface thin to match with branding

Fig. 3.3.1 Content Page Heading (before)

Fig. 3.3.2 Content Page Heading (after)

Improvements: Increased point size and leading

Fig. 3.4.1 Content Page bars (before)

Fig. 3.4.2 Content Page bars (after)

C. Introduction Body Text

Ms. Lilian suggested a bigger point size (right) for my body text while Mr. Vinod suggested a smaller one (left), I ended up choosing the bigger one as it has better readability from a user's pov.

Fig. 3.5.1 Two options for introduction body text

D. Vision & Mission page layout

Improvements: Moved visual elsewhere, made body text consistent (still interactive)

Fig. 3.6.1 Vision & Mission layout (before)

Fig. 3.6.2 Vision & Mission layout (after)

E. Target Market Interactive bar

Improvements: Moved visual elsewhere, made body text consistent (still interactive)

Fig. 3.7.1 Target Market interactive bar (before)

Fig. 3.7.2 Target Market interactive bar (after)

3. Extras *(not shown during feedback sessions)

Added elements: Patterns on the background of all chapter title pages

Fig. 4.1.1 Patterns applied on The Brand page

Fig. 4.1.2 Patterns applied on Visual Guideline page

Fig. 4.1.3 Patterns applied on Application page

Added elements: Ending pages which consist of ways of contact and an interactive back to home button

Contact us page:

Fig. 4.2.1 Contact us page

Back to home page:

Fig. 4.3.1 Back to home page (normal)

Fig. 4.3.2 Back to home page (rollover)

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FINAL SUBMISSION

EHUB link

Click here to view it in interactive mode

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FEEDBACK

Week 11:

General  Feedback:

We were reminded during class of the task requirements such as the chapter we have to complete as well as how to submit them, we were tasked to add a new section for improper use of our logo.

Specific Feedback:

Week 12:

Specific Feedback:

Ms. Lilian said that my leading for the introduction page is too close. Looking at my visual guideline pages, I was advised to introduce them by having a short description for them. For a playful approach which at the same time can remain consistent, I was advised to break off the white to show a full bleed picture, I can talk to Mr. Vinod about it too, so I could standardize, as having elements too playful can ruin the layout too so I can improve my layout. Right now, there is no consistency in the body text size, so I have to maintain point size and keep consistency. For submission, I was allowed to submit the EPUB version as well. Lastly, Ms. Lilian advised that I could introduce grey for Navi in this section.

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REFLECTION

Experience

I have fairly enjoyed this joint task with publishing design, it's a first and a really interesting approach to a design task. For me, the design process was heavier when it came to my navigation bar, as it is my first time working with an interactive PDF, and it was quite a struggle working with the tools and technical part of the design. However, after getting used to the tools, it got easier to work around and that is when I feel I really improved my layouts and buttons.

Observations

Throughout this project, I have observed the difference between the tools and buttons used for EPUB and the ones used for interactive PDFs. As the initial submission requirement was to submit in an interactive PDF format, many buttons and functions on InDesign were not an option. However, after the submission requirement was loosened and the EPUB submission was allowed, I tried to explore more on the EPUB buttons and from there, created many pages with interesting interactive buttons which I feel satisfied with.

Findings

In this task 3B, I discovered a new function for when creating a project like brand guidelines. I utilized the new illustrator to InDesign copy pasting function a lot during this task, especially for the visuals that require groupings such as the patterns, and interactive bars. It helps save so much time from just plainly working on InDesign, as illustrator and InDesign are both adobe (just that illustrator is more graphic-based and InDesign more text- focus), moving from one software to the next is not a problem.

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FURTHER READING

Fig 5.1.1 The Vignelli Canon on Design by Massimo Vignelli

A. Focused content for further reading: Grids, Margins, Columns, and Modules

From reading this topic, I have gathered and written my part of the conclusion. Firstly, written in the book are the various reasons why grids are used and why it is so important to use them. 

• It organizes the content
• It provides consistency
• It gives an orderly look
• It projects a level of intellectual elegance that we like to express

After knowing the importance of using the grid, I now learn which type of grid to use for my design use. I need to find the most appropriate one and the basic understanding is that the smaller the module of the grid the least helpful it could be, however, coarse grids can also be restricting and offers too few alternatives. So the secret is to find the proper kind of grid for the job at hand.

Fig 5.1.2 Grid Variation, 3x6 (left) 5x4 (right)

Next, I learned what makes a grid. There is the vertical grid which provides consistency, which is columns, and also a horizontal grid called modules, which are horizontal frames of reference to assure certain levels of continuity throughout the publication.

Lastly, once the page is structured, we can now begin to structure the information and place it in the grid in such a way that the clarity of the message will be enhanced by the placement of the text on the grid. So, one should learn to use it to retrieve the most advantageous results.

B. Focused content for further reading: Contrasting Type Sizes

From reading this topic, I have gathered and written my part of the conclusion. Firstly, written in the book is the purpose of contrast in type and its examples

• It is the play between a very large type size for headlines versus a much smaller type size for the body text
• White space for me is a very important element in the graphic composition. It is really the white that makes the black sing

Fig 5.1.3 Example of contrast in type, taken from the book

How important is the white space in this matter?

Taken from the book is this statement, "It is really the white that makes the black sing. White, in typography, is what space is in Architecture. It is the articulation of space that gives Architecture the perfect pitch."

With the contrast in type, the first rule is to stick to one or two type sizes at the most. If necessary, there are other devices such as bold, light, roman, and italic to differentiate different parts of a text.

Lastly, there is a quote from the book that I think is worth noting, "In a world where everybody screams, silence is noticeable. White space provides silence. That is the essence of our typography."