american red cross brand standards
TRANSCRIPT
Brand Standards — Professional Version
3 January 2012
This brand identity system is designed to drive reconsideration of the American Red Cross as a world-class 21st-century brand. With your help, we will steward and protect an unmistakable visual identity that unites our organization’s many activities.
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Contents
This version of the guidelines was released January 3, 2012. Please refer to Brand Central for updates and to make sure your copy is up to date.
This guide contains tools, inspiration and examples to help you implement the identity system.
5 January 2012
Contents . . . . . . . . . . . . . . . . . . . . . . . . .4Mission . . . . . . . . . . . . . . . . . . . . . . . . . .7Principles . . . . . . . . . . . . . . . . . . . . . . . .8Essence . . . . . . . . . . . . . . . . . . . . . . . .11Our brand . . . . . . . . . . . . . . . . . . . . . . .12Brand attributes . . . . . . . . . . . . . . . . . .14Look and feel . . . . . . . . . . . . . . . . . . . .16Tone of voice . . . . . . . . . . . . . . . . . . . .18Brand elements . . . . . . . . . . . . . . . 20Logo suite overview . . . . . . . . . . . . . . .22Button logo . . . . . . . . . . . . . . . . . . . . . .24Classic logo . . . . . . . . . . . . . . . . . . . . .26Wordmark . . . . . . . . . . . . . . . . . . . . . . .28Internal spacing and clear space . . . .29Spanish logo suite . . . . . . . . . . . . . . . 30Sizing . . . . . . . . . . . . . . . . . . . . . . . . . .32Separating the button from the
wordmark . . . . . . . . . . . . . . . . . . . . .33
Logo elements dos and don’ts . . . . . 34Region and chapter lockups . . . . . . . 36Locator button on maps . . . . . . . . . . .37Sub-branding . . . . . . . . . . . . . . . . . . . 38Major gift program levels . . . . . . . . . . 39Campaign, co-branding and
sponsorship considerations . . . . . 40Color proportion . . . . . . . . . . . . . . . . .42Color usage . . . . . . . . . . . . . . . . . . . . .43Color breakdowns . . . . . . . . . . . . . . . 44Secondary color palette inspiration . .45Color usage examples . . . . . . . . . . . . 46Typography . . . . . . . . . . . . . . . . . . . . . 48Typography examples . . . . . . . . . . . . 50Handwriting . . . . . . . . . . . . . . . . . . . . .52Blood Services tagline . . . . . . . . . . . 54Card graphic . . . . . . . . . . . . . . . . . . . 56Photography overview . . . . . . . . . . . 58
Photography considerations . . . . . . . 59Moments photography . . . . . . . . . . . 60Portrait photography — Participants . .61Portrait photography — Supporters . .62Creating supporter portraits . . . . . . . .63Objects photography — Found . . . . . 64Objects photography — Iconic . . . . . .65Photo implementation styles . . . . . . . 66Using photo borders on images . . . . .67Photography dos and don’ts . . . . . . 68Cross pattern . . . . . . . . . . . . . . . . . . . .70Activations . . . . . . . . . . . . . . . . . . . 72Resources . . . . . . . . . . . . . . . . . . . . 94Co-branding guidelines . . . . . . . . . . .95Trademarks . . . . . . . . . . . . . . . . . . . . . 96
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7 January 2012
Mission
The Mission Statement for the American Red Cross was recently updated by the Board of Governors and will be shared with the organization in early 2012.
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Humanity, Impartiality,Neutrality, Independence, Voluntary Service, Unityand Universality.
Principles
In all of our work, we are guided by the seven fundamental principles of the International Red Cross Movement.
9 January 2012
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11 January 2012
Sleeves up. Hearts open. All in.
Essence
Artist: Emmet Oldson
Sleeves up . We are relentless in our pursuit of making a difference. Whatever is needed, wherever it’s needed, we roll up our sleeves, and keep them up, until the job is done.
All in . We run into the worst places, at the worst times. We jump in and get to work. We stay until the job is done. We won’t ever give up. When there is a need, we are all in, as individuals and as a team.
Hearts open . We are unconditional in our giving. No matter who you are. No matter what happened. No matter when it happened. If there’s a need, the Red Cross is there.
The pin on this young boy, similar to those worn by millions of Americans in the early part of the 20th century, was the inspiration for the new logo treatment you’ll see in this guide.
Our brand essence is for internal use only, to remind and guide us as we work. It is not a tagline and it is not for external use.
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The pin is a symbol of enthusiastic participation. It is a personal, grassroots and unique expression for the American Red Cross.
Our brand
13 January 2012
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Brand attributes
Our brand is:
15 January 2012
AuthenticStraightforwardEngagingConfidentVisionary
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Greater Lehigh Valley Chapter2200 Avenue ABethlehem, PA 18017-2118
Look and feel
Open, clear, purposeful, white with a touch of red.
17 January 2012
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Tone of voice
Empowering . We are a brand that relies on people–both the people we help and those who embody the Red Cross and deliver on our mission. We want everyone to feel empowered to be a part of this network, to help us make a difference in times of need.
Uplifting . The work we create will often be highly emotional, but never with a focus on the devastation, destruction or disaster. We want to leave people with a feeling of hope and possibility. We want them to feel that they can make a difference through the American Red Cross.
Inviting . We are open and accessible to anyone and everyone who wants to assist us in our mission. We are not intimidating or directive.
The words and language we use must reinforce the look and feel of the brand. And our tone of voice must remain consistent through all messages and media–whether it is in advertising, direct mail or in person. Below are four words to help guide us as we write and speak.
19 January 2012
Personal . Our care is selfless, not self-serving. We treat every person we help and everyone who helps us as an individual. We want them to feel care and compassion every time we interact with them. We are not yelling our message from the rooftops. We treat every individual with respect.
How we talk is as important as what we talk about.
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Brand elements
These are the tools you will need to create and build the American Red Cross brand.
21 January 2012
Logo suiteColor paletteTypographyImagery
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Logo suite overview
There are three American Red Cross logo families. Each has its own distinct purpose. The following pages detail each.
23 January 2012
Button logo family
Classic logo family
Wordmark family
The button logo was born from this image. This is the preferred logo version. Marketing oriented. Not for use in disaster situations.
For use in disaster situations, as well as times when a marketing-oriented button logo is not appropriate. Can also be used in marketing pieces.
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Button logo
Horizontal stacked
Use this logo in any of its three forms for most printed marketing and communications materials as well as television, Web and email.
The button logo is available in the three configurations seen here, with versions created for print or digital use. Obtain files from Brand Central.
Examples of use• Marketing materials• Advertising• Digital• Television
25 January 2012
Horizontal
Vertical
RESTRICTED USE ONLYFor use when limited colors are available or when printing techniques are more basic, such as pad printing, embroidery and silk-screen.
Use only with permission from brandcentral@usa .redcross .org.
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Classic logo
Use this logo in any of its three forms primarily in corporate materials or with restricted printing methods such as silk-screening and vinyls.
The classic logo is available in the three configurations seen here, with versions created for print or digital use. Obtain files from Brand Central.
Examples of use• Legal documents• Disaster communications• Long-life iconic items• Apparel• Objects (mugs, umbrellas, etc.)• Signage and large-format use• Lower-quality printing situations
Horizontal stacked
27 January 2012
Horizontal
Vertical
RESTRICTED USE ONLYOne-color versions of all three formats are available in red, black and white, as seen here.
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Wordmark
Use the wordmark on its own when a button logo or classic logo appears in isolation elsewhere in a layout, or when repetition of the full logo lockup would be distracting.The wordmark is available in the two configurations seen here, with versions created for print or digital use. Obtain files from Brand Central.
Horizontal
Vertical
Example of use• When cross or button is present
RESTRICTED USE ONLYOne-color versions of both formats are available in red, black and white, as seen here.
29 January 2012
x
x
x
2x
2x
2x
x
2x
Internal spacing and clear space
Clear spaceThe clear space around all logo versions is 2x, measured from the outermost edge of the logo. No other design elements (photos, type, etc.) should ever invade the clear space.
Internal spacingFor the button logo, there is 2x space between the cross and the wordmark, to accommodate the button graphic. For the classic logo, the spacing is 1x.
The Red Cross logos may be reduced or enlarged, but don’t alter their height-to-width ratio. Do not attempt to remake them with your own image manipulation or desktop publishing applications. Use the graphics provided on Brand Central.
Sizing and spacing of elements within the logos have been developed based on the size of the cross’s arms.
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Spanish logo suite
Many Red Cross offices use the English version of the logo on their Spanish-language materials, and this practice is encouraged.
Horizontal
Vertical
Horizontal stacked
These are the only non-English versions of the American Red Cross logos allowed. All of the same space and usage requirements apply.
The logos are available in the configurations seen here, with versions created for print or digital use. Obtain files from Brand Central.
31 January 2012
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The button should always be sized relative to its use: large on a podium, small on a flyer.
Sizing
Print minimum
Print minimum Digital minimum
.06 inches (~ 1.5 mm)
.275 inches (~7 mm)
.06 inches (~ 1.5 mm)
26 pixels
Logos minimum sizes For all logo versions (including the wordmark), always make sure the wordmark is at least 0.06 inches (roughly 1.5 mm) tall for printing, and 6 pixels tall for digital situations.
Button graphic minimum sizesWhen used on its own, the button graphic should be no smaller than 0.275 inches (roughly 7 mm) tall, not including the drop shadow, for printing, and 26 pixels tall for digital situations.
Digital minimum
6 pixels
6 pixels
For items you can hold in your hand or view on screen, keep the button in the .75” to 2” range. The button can get larger e.g., on a building. Ensure it reads as a rounded button, not as a flat disc.
33 January 2012
Separating the button from the wordmark
Remember to include the wordmark somewhere in the viewing area.
As long as minimum size requirements are followed, the button can be separated from the wordmark and scaled on its own.
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Logo elements dos and don’ts
Avoid “almost a lockup”To avoid creating an “almost lockup,” keep any button or cross graphic (including a predominant button worn by someone in a photo) at least an entire additional clear space away from the wordmark.
The blue dotted circle to the right indicates the stay-away distance between a button (or cross) graphic and the wordmark.
Avoid multiple buttonsTo avoid repetition, the wordmark is used alone (not locked up with a button logo when a button graphic is clearly visible in the same field of view). The button graphic must clearly be part of the photographic composition and not appear to be part of a logo lockup.
DO use a wordmark when a button graphic is present in the layout.
DO keep button and wordmark far enough apart to read separately.
Don’t use a button logo lockup AND a button graphic together.
Media Department
Thanks to you, theshown unprecedented …
has
Join us
DO switch to reverse logos when legibility becomes a concern.
Don’t put white boxes behind the logo.
35 January 2012
Media Department
Thanks to you, theshown unprecedented …
has
Join us
Don’t add effects to the logos.
Don’t alter the size relationship in a lockup.
Don’t violate logo clear space.
Don’t use logos or wordmark in text.
Don’t make custom lockups.
Don’t use the cross as a text bullet.
Don’t rotate the button graphic.Don’t place the logos over unreadable portions of images.
Don’t crop individual crosses.
Don’t place an image in a cross shape.
Crisis Intervention: helping people engage their natural coping skills and support systems to reduce stress reactions with both emotional and physical symptoms.
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Region and chapter lockups
Chapter lockups should always use the horizontal button logo with the chapter name in Georgia Regular on one or two lines of type.
Do not attempt to make your own lockup or lock up the chapter name with any other logo version.
Chapter lockups are available in spot color, RGB and CMYK formats.
Serving Orange, Riverside and San Bernardino Counties
Greater Chesapeake and Potomac Blood Services Region
Serving Orange, Riverside and San Bernardino Counties
Greater Chesapeake and Potomac Blood Services Region
Type centerson cross
Serving the Bay Area
San Francisco Chapter
Mid-Florida Region
Serving the Bay Area 80% (4/5) XX 1/2 X
One-line region and chapter lockup
Alignment
Two-line region and chapter lockup
37 January 2012
Locator button on maps
California
Washington
Alabama
Michigan
The simplified button logo is used as a marker on maps for calling out American Red Cross locations.
The use of the simplified button logo as a bullet is restricted to this use only.
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The American Red Cross logo is our master brand. All programs, initiatives and events must support the master brand and not establish distinct identities that detract from the Red Cross. Sub-brands are programs and events that need expression, but they should always be subsidiary to the Red Cross brand.
New templates have been created with a live type area for input of sub-brand names. Use either the one-line or two-line sub-brand template, as required.
Observe directions above for clear space. Additional clear space direction is found in Internal spacing and clear space, page 29.
Please contact the Brand Unit for approval, guidance and resources.
Field units should not create or implement any branded systems, programs, initiatives or events.
Sub-branding
Brand Central
Brand Centralx
2x
1x 2x1x
Adjust to accommodate sub-brand name width
Type centers vertically on cross
Annual DisasterGiving Program
One-line sub-brand lockup
Sub-brand lockup clear space
Two-line sub-brand lockup
39 January 2012
Major gift program levels
These major gift logo treatments are for exclusive use by the Development department. Do not create your own logo treatment.
Tiffany Circle
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Campaign, co-branding and sponsorship considerations
There will be occasions when the core design principles of the visual identity cannot be adhered to, due to either partnership agreements, co-branding situations or even specific campaigns running in support of the brand.
In these cases, it is still necessary to follow the basic rules of the brand to maintain integrity.
In the examples, you will see that sometimes fonts, colors or layouts are
different, but in all cases, the logo is displayed correctly, with enough space around it, and whenever possible, other elements also follow our visual identity standards and guidelines.
Co-branding example
Co-branding areaNote that clear space rules are being followed.
Core branding areaNote that layout and design decisions follow guidelines.
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Allowed branding areaNote that clear space rules are being followed.
Campaign area
Partnership example Campaign example
Core brand areaNote that clear space rules are
being followed.
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Notice the balance of color within these guidelines. Use it as a reference for creating new pieces.
Color proportion
White, gray and red are the predominant colors of our brand.
43 January 2012
RedUse it sparingly, to call the eye to important information. Overuse it and everything fights for attention.
UseBrand Icon Brand PatternsEmphasis in text e.g., headlines and subheadsEmphasis in photography
SecondariesUse them very sparingly, to create occasional emphasis and to create differentiation within a series (e.g., in a series of five manuals use a different secondary color for each). It is not recommended to assign colors to lines of business.
UseEmphasis in text
WhiteUse lots of white space to create a clean and open feeling.
UseBackgroundsPhotographic bordersNegative space
GraySofter than black, gray informs without being too loud.
UseWordmarkTypography
UseIn typography and objects to create depth and warmth
Red gradient
PMS 485 + 0–45% Black gradient
Color usage
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WHITECMYK - 0/0/0/0
RGB - 255/255/255HEX - FFFFFF
LIGHT BLUE (PMS 290)CMYK - 25/2/0/0
RGB - 196/223/246HEX - C4DFF6
KHAKI (PMS 4535)CMYK - 0/4/30/11
RGB - 226/215/172HEX - E2D7AC
LIGHT GRAY (COOL GRAY 3) CMYK - 0/0/0/15
RGB - 215/215/216HEX - D7D7D8
MIDNIGHT BLUE (PMS 7692)CMYK - 100/45/0/45
RGB - 0/75/121HEX - 004B79
DEEP RED (PMS 7622)CMYK - 0/97/89/45RGB - 127/24/27
HEX - 7F181B
SKY BLUE (PMS 542)CMYK - 62/22/0/3RGB - 86/160/211
HEX - 56A0D3
SAFETY GREEN (PMS 360)CMYK - 58/0/80/0
RGB - 142/192/108HEX - 8EC06C
PMS COOL GRAY 11CMYK - 0/0/0/70
RGB - 109/110/112HEX - 6D6E70
SAND (PMS 7530)CMYK - 0/8/21/32
RGB - 180/169/150HEX - B4A996
MED. GRAY (COOL GRAY 8)CMYK - 0/0/0/40
RGB - 159/159/163HEX - 9F9FA3
GOLD (PMS 130)CMYK - 0/30/100/0RGB - 236/183/49
HEX - ECB731
BLACKCMYK - 0/0/0/100
RGB - 0/0/0HEX - 000000
RED CROSS RED (PMS 485)CMYK - 0/100/100/0
RGB - 237/27/46HEX - ED1B2E
FOREST GREEN (PMS 364)CMYK - 65/0/100/42
RGB - 83/123/53HEX - 537B35
CLASSIC BLUE (PMS PROC BLUE)CMYK - 100/10/0/10
RGB - 0/145/205HEX - 0091CD
Primary
Neutral
Secondary
Color breakdowns
45 January 2012
Many of the colors in the palette were inspired by Red Cross history.
Secondary color palette inspiration
Midnight BlueClassic BlueKhaki
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Color usage examples
Although individual pieces may vary, notice that the cumulative effect maintains the overall brand color balance.
Greater Lehigh Valley Chapter2200 Avenue ABethlehem, PA 18017-2118
Marketing exampleLots of white space.
Red is used sparingly, for logos, the main headline and in photography, but is still a small portion of the layout.
Gray is used for type and card texture.
47 January 2012
Large, iconic object exampleThe cross is big and bold, but there is still a lot of white space.
Gray is used sparingly.
Series exampleThe cross is big and bold, but the piece still has a lot of white space.
Secondary colors are used on the spine and in titles to differentiate pieces within the series.
Gray is used for type, and will have a stronger presence on interior pages.
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Typography
The Akzidenz and Georgia font families provide plenty of options for expression.
Keep typography simple. Limit the use of all-caps and justified copy. Create focus by reducing the number of sizes and weights.
Special cases, such as marketing campaigns and co-branded events, have their own typographic needs. These font rules apply to core brand pieces.
49 January 2012
Akzidenz-Grotesk Standard family is used to clearly and objectively communicate information.
Regular or Bold for heads and subheads.Regular for body copy.Bold or Italic for emphasis.
Upper- and lowercaseor ALL CAPS.
Preferred: Red Cross Gray
When necessary: Red Cross Black
Use sparingly:Red Cross RedWhiteSecondary colors
Information
Georgia Regular family is used for storytelling, expressing opinions and calls to action.
Regular for heads, subheads and body copy.Bold or Italic for emphasis.
Upper- and lowercase.
Preferred:Red Cross Gray
When necessary:Red Cross Black
Use sparingly:Red Cross RedWhiteSecondary colors
Voice
When Akzidenz is unavailable in digital situations, it is acceptable to use Arial as a substitute. Do not use Arial for any printed materials. If Akzidenz is needed, download it from Brand Central.
Name and use
Weights
Cases
Colors
RESTRICTED DIGITAL USE Georgia is a system font and should be available on any Mac or PC.
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Typography examples
Georgia RegularVoice: headlineRed
While there are always multiple answers to a design problem, information should always have a clear hierarchy. Here are some examples.
Georgia RegularVoice: body copyGray
Georgia RegularVoice
Red
Georgia RegularVoice: headline
Gray
Handwriting (art)Personal touchBlack
Handwriting (art)Personal touch
Black
Akzidenz-GroteskInformationGray and red
51 January 2012
HeadlineLarge and red, it quickly draws the eye into the composition. Notice that very little other text is red.
Logo and sub-brandHigh on the page and prominently displayed,
surrounded by white space, the logo is clearly of the
utmost importance.
SubheadLarger than body
copy, but still gray, this subhead indicates a
new section of copy, but doesn’t fight with the headline for attention.
Directional information
A combination of red and gray, Regular and
Bold faces of Akzidenz, this corner gives you
simple, easy-to-digest directional information
without shouting.
Body copyIn Georgia and gray, without a lot of bold or italicized words, it makes reading large amounts of text easier and keeps the visual noise to a minimum.
Pull-quoteA well-chosen pull-quote can create an emotional connection with the reader, and break up large blocks of copy. Notice it does not supersede the headline in importance.
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Handwriting is used in small amounts to personalize messages and to add a human touch.
The examples above have been supplied as artwork and should also be used as a reference when creating your own handwritten copy. Use handwriting sparingly to accentuate headers, taglines or names—never for information, long headlines or body copy.
Handwriting
If handwriting is not a viable option, use Georgia instead. Do not use a digital handwriting font.
Don’t mix handwriting with Akzidenz or Georgia within the same sentence. Handwriting should stand on its own.
53 January 2012
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Blood Services tagline
The need is constant.The gratification is instant.Give blood.™
This is for Blood Services use only.
Since this is a trademarked tagline, do not create a handwritten version of it. Having a TM at the end does not fit with the personal, human feel of handwriting.
This is the Blood Services tagline that can be used in conjunction with branded pieces. It is a trademarked element of the American Red Cross.
The tagline should not be locked up with the logo. Refer to the typography section for font usage and be sure to observe all rules laid out in the guide when associating with logo families.
55 January 2012
Avoid “almost a lockup”To avoid creating an “almost lockup,” be sure to follow the established clear space rules for logos, and avoid trying to lock up the tagline with a logo.
The blue dotted box above indicates the stay-away distance.
Always set the tagline in three lines, in Georgia Regular (because it read as a voice of the Red Cross), left-aligned, with a superscripted TM. It can be scaled, colored and moved as needed.
The need is constant.The gratification is instant.Give blood.™
The need is constant.The gratification is instant.Give blood.™
The need is constant.
The gratification is instant.
Give blood.™
DO set the tagline small and red.
DO use the tagline large or on a card, or both. Don’t place the tagline too close to the logo. See below.
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Cards turn type into objects, adding meaning and dimension to a layout. They are also useful for creating a holding device for handwritten or other typographical information.
Card graphic
Content can be headlines, pull-quotes, service marks or informational data e.g., event location.
57 January 2012
Creating card graphics
Step 1In InDesign, Place the file “card_texture_GS.psd” and adjust the edges of the bounding box to the desired shape. (Crop, rather than distort, the shape of the image.) In Illustrator, do the same thing using a Clipping Mask.
Step 2Duplicate the box, delete the image and fill with 40% tint of black. Offset slightly, straight down. Shorten by half, from the top, and pull in the top points to hide any shadow on the sides. Send to the back and set to Multiply.
Step 3Using the Pen tool, add a curved point at the center of the bottom box, and pull this new point back up to the edge of the card texture image, creating two triangular shadow areas.
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Moments Portraits Objects
Photography overview
We want to capture the humanity and unconditional caring that the American Red Cross exhibits when we carry out our mission. We want to see the true human connection between the Red Cross workers and the clients they’re helping, and show that in these difficult times, we can come together.
The images should feel optimistic, hopeful and compassionate. We want to show the positive side of these dire circumstances, without being naïve about the reality of the situation.
Objects can be used with a portrait to tell a story and to add an additional human touch or positive feeling.
Access the Red Cross photo library through CrossNet.
We have three different types of photography, each with its own purpose and usage.
59 January 2012
Use these approaches for both new photography and combing the archives.
Photography considerations
Depth of fieldSelective focus highlights individuals and allows them to stand out against their surroundings.
Shoot photos with background context to create meaning and relevance.
Focus in on a specific element to tell a more specific story.
Good croppingAdd focus and interest without losing a sense of context.
This is a great way to restage archive images.
Minimize old logosUsing depth of field, cropping and composition, minimize the strength and importance of the older logos within compositions, without losing their relevance or the essence of the scene.
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Moments photography
Moments create an emotional connection and demonstrate the purpose and importance of the American Red Cross.
Moments have a reportage feel, capturing people actively doing things, but not directly engaged with the photographer or viewer.
Find moments of positive interaction that are upbeat without trivializing the situation.
Context can help tell the story.
Branding is included where possible.
61 January 2012
Participant portraits candidly show the helpers and the helped in the context of actual events.
They are used as storytelling devices to share Red Cross moments, creating intimate connections with individuals. More often than not, the subject is directly engaged with the viewer, or at the very least, is clearly aware the photographer is present, but direct eye contact is not necessary.
Portrait photography — Participants
Branding is included where possible, but in order to preserve authenticity shots should not be posed or propped.
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Supporter portraits show donors and staff proud to be associated with the cross, which must appear somewhere in the image, e.g., on banners, vehicles, signs and pins. Context helps tell the subject’s personal story.
The image is clearly set up as a more formal portrait than a participant portrait, but is not stuffy or staid.
Portrait photography — Supporters
63 January 2012
Portrait photography — Supporters
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Found objects that are photographed in the context of actual events are effective at engaging the viewer.
The close crops also add a level of intimacy and bring the story to a very human, individual level. In conjunction with Moments or Portrait photography, Objects are helpful to expand a story and create an emotional sensibility.
Objects photography — Found
65 January 2012
Iconic objects aid in storytelling, and complement Moments photography.
Objects on white/gray backgrounds express broad themes. Whenever possible, the objects should be red, white or gray.
Iconic objects play a supporting role to other photography in most activations, but in some instances, like invitations, it is acceptable to use them on their own.
Shooting iconic objectsOverheadOn flat, white backgroundMinimal shadowsStrong, even, consistent lightingRealistic, not stylized
Objects photography — Iconic
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There are three different ways of incorporating photography into a layout.
Bleeding the image off the page on at least three sides; putting the image in a photo border; and specifically for iconic objects, showing them on a flat white background.
Full bleed image Photos with borders
Iconic object on white
Photo implementation styles
Any other methods of styling an image are prohibited. Additional details are found on the pages that follow.
67 January 2012
Using photo borders on images
Step 1In Photoshop, Open either the horizontal or vertical version of the file “photo_border_x.psd” and the image you want to use. Convert your image to CMYK.
Step 2Control-click on the background layer in your image to Duplicate Layer into the border file.
Step 3Move the new layer above the layer titled “Placeholder” and situate as needed. Save As … and Place into design program.
Rotate up to 6º in either direction, or leave straight.
Photo borders turn images into objects, integrating them into compositions.
Premade borders for both the vertical and horizontal orientation of 4:3 images, as well as square and panoramic, are available on Brand Central.
Do not attempt to create additional versions in other shapes. Crop or adjust your image to fit within these border shapes.
Follow the instructions above to add a border to your image.
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Photography dos and don’ts
DO bleed photos on at least three sides if a photo border is not used.
DO treat cards like objects and have them interact with images.
DO use object imagery with or without bleed as appropriate.
Don’t distort or apply effects to images. Leave them natural and realistic.
Don’t over-rotate images. Go 6º in either direction, maximum.
Don’t place an image with a shadow without a border.
69 January 2012
Don’t place an image completely within a card.
Don’t add or remove content from images.
Don’t rotate images in a manner which creates patterns.
Don’t use images of radically different sizes together.
Don’t cut people out of images or have them floating without context.
Don’t create photo borders with uneven widths.
Don’t create custom borders (colors, ripped or scalloped edges, etc.).
Don’t use too many images.
you have to
experience for
yourself to
comprehend what
kind of devasta-
tion has
happened here.
I went to the
shelter at
Missouri
Southern State University, thinking it would be like all the other
shelters I had worked
at before. I was wrong.
This one was much
bigger and had many
more people in it. And
there were so many
A Publication of the American Red Cross of Bay Area Chapter Winter 2012
Crossroads
My Red Cross Story
What I saw in JoplinAbout a year ago, my mom, who is
a Red Cross Disaster Action Team
member, asked me and my sister
Sierra if we wanted to join the Red
Cross as youth volunteers. I said,
“sure,” but after I started wonder-
ing when I would actually be
needed, and for what purpose.
Then Sunday, May 22,
2011, happened.
That day, a massive
tornado tore through
Joplin, MO—the
deadliest in nearly 60
years. What I’ve seen is
really hard to explain.
It’s one of those things
InsideP3 Ready at a moment’s notice P4 Saving his rescuer’s ifeP2 A Message from the
President and CEO
Never Photoshop images unless they are stock images from produced photo shoots.
70
Cross pattern
The cross pattern is made from many crosses coming together to form a unified whole.
The pattern represents unity: a single purpose made possible by the contributions of many. Its similarity to a quilt gives the brand warmth and differentiates the American Red Cross from medical institutions, services and products that use a red cross.
As it is a bold graphic element, use sparingly (e.g., inside cover of a catalog, inside lining of a bag or first aid kit interior). Always and only print it in Red Cross Red (PMS 485).
This photo has been altered to illustrate how a revised blanket design would look when wrapped around someone. This blanket is not yet available.
72
Every activation is an opportunity for brand expression. Design each piece with reverence for the attributes expressed in the preceding pages.
This section provides a sampling of brand activations to demonstrate how the new visual identity system comes to life across various media and tactics.
Activations
AuthenticStraightforwardEngagingConfidentVisionary
73 January 2012
74
Direct mail piece
Greater Lehigh Valley Chapter2200 Avenue ABethlehem, PA 18017-2118
75 January 2012
Workplace giving posters
76
Fundraising brochure
77 January 2012
Annual report
78
Printed newsletter cover and interior page
79 January 2012
Digital newsletter
80
Stationery and email signature
Business Communications
Lorem IpsumManager, Disaster Public Affairs Communications
Greater Lehigh Valley Chapter2200 Avenue ABethlehem, PA 18017-2118Tel (123) 123-4567Cell (123) 123-4567Fax (123) [email protected]: @LoremIpsumSkype: LoremIpsumfacebook.com/chapteraddressredcross.org
81 January 2012
Greater Lehigh Valley Chapter2200 Avenue ABethlehem, PA 18017-2118
Lorem Ipsum,
Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut la-
bore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris
nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit
esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt
Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudan-
tium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae
vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit
aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque
porro quisquam est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia
non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam quaerat lorem
ipsum voluptatem.
Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut la-
bore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris
nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit
esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt
Dolor Sit Amet
Greater Lehigh Valley Chapter2200 Avenue ABethlehem, PA 18017-2118(123) 123-4567redcross.org
82
Chapter brochure
83 January 2012
Chapter invitation
84
Web site
85 January 2012
National and chapter-based television end frames
redcross.org
redcross.org
86
Bloodmobile
Blood Services
87 January 2012
Donor card
ValuedBlood Donor
Donor Name
O Negative
NAME
BLOOD TYPE
NAME
BLOOD TYPE
X0000 000000
88
Tagline and privacy screen
The need is constant.The gratification is instant.Give blood.™
Blood Services
89 January 2012
Preparedness, Health and Safety Services
E-sheet
90
Catalog spine, cover, first page and brochure covers
Preparedness, Health and Safety Services
91 January 2012
Class flyer
92
Disaster
Vests and name tags
93 January 2012
Emergency response vehicle
94
Resources
For templates and customizable marketing materials, please visit Brand Central. For questions or help with these guidelines, please email [email protected].
95 January 2012
Co-branding guidelines General infoAlignment with the Red Cross brand may be provided to corporate and foundation partners in accordance with the giving levels outlined in the Annual Corporate and Foundation Partner Benefits Matrix.
Logo size and placement: When the American Red Cross brandmark is used with a corporate, governmental or NGO logo, the Red Cross must appear greater or equal in size. Follow clear space rules for how far apart logos should stay.*
When the Red Cross logo appears with a corporate, governmental or NGO logo in partner-disseminated materials, the following disclaimer should appear in the viewing area in type no smaller than 8 points: “The American Red Cross name and emblem are used with its permission, which in no way constitutes an endorsement, express or implied, of any product, service, company, opinion or political position. For more information about the American Red Cross, please visit redcross.org.”
When a corporate, governmental or NGO logo appears with the Red Cross logo on Red Cross–disseminated materials, the following language must be included in type no smaller than 8 points: “All service marks used with permission.”
* Exceptions may be made for cause marketing tactics. These will be reviewed and addressed by Brand Marketing on a case-by-case basis.
Donated vehiclesTo ensure that the public immediately identifies a donated vehicle as representing the Red Cross, the donor’s logo should be no more than half the height of the cross. It should appear on the lower third of the vehicle, preferably in the rear corner.
Above the logo, the language should read: “Generously donated by …” if the vehicle has been donated in-kind or if the funder has underwritten the full purchase price of the vehicle. “Proud supporters include …” if vehicle branding is provided as recognition for a gift that is not supporting the purchase of the vehicle.
The language should be 70% black, a match to Cool Gray 11 or black.
Sides and Rear: The donor’s logo should be no taller than half the height of the cross that appears on that side, and should appear on the bottom third of the body and be accompanied by the approved donation language. If space is an issue, the name of the company rather than its logo may be used on the rear. On smaller vehicles, it may not be possible to include donor acknowledgments on the rear of the vehicle.
Top: This is for aerial identification of Red Cross vehicles. Sponsor logos should not appear here.
If there are multiple donors, a list of the organization names, rather than multiple logos, is preferred.
FundraisingWhen a corporation is raising funds for the Red Cross, the following language must be included:Percent of sale on product: “For every PRODUCT sold, COMPANY will donate $X/X% of the sale price to the American Red Cross with a MINIMUM/MAXIMUM guaranteed contribution of $X between DATE and DATE.”
Customer donations at point of purchase:Retail, will collect checks: “The American Red Cross will not receive your contact information. Should you require a receipt from the American Red Cross, please give your donation in the form of a check made payable to the American Red Cross.”
Retail, will not collect checks: “The American Red Cross will not receive your contact information. Should you require a receipt from the American Red Cross, please give online at www.redcross.org.”
Banks: “The American Red Cross will not receive your contact information. Should you require a receipt from the American Red Cross, please give online at www.redcross.org.”
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Trademarks
The American Red Cross trademark portfolio is available on the CrossNet Brand Toolkit. Contact The Office of the General Counsel at trademarks@usa .redcross .org for more information.
©2011 The American National Red Cross. The American Red Cross name and logo are registered trademarks of the American Red Cross.