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inside the box.inside AIGA identity and branding guidelines.Thinking
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Why is it important to build a strong,appropriate, consistent AIGA brand?
To gain greater recognition and respect for
the AIGA, and to ensure that the AIGA
receives credit for all its actions and activities.
To increase perception of the AIGA as the
undisputed leader in supporting and
promoting excellence in design.
To build greater public awareness of and
respect for design.
To promote the value of professional graphic
design.
To attract new members.
To retain the members we have.
To gain greater financial support for the
organization.
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1
Identity and branding…why worry?
Whether we want to be or not, we are a brand.
We’re out there—and our members and others
are continually forming opinions about us.
Those opinions will be positive, negative or
ambiguous. We need to participate actively in
influencing those opinions.
We can choose to be either visible or invisible.
We can either ensure we get credit for the
things we do, or we can do good things and
risk getting no credit for them. We can work
to be either understood or chance being mis-
understood. We can become perceived as
either a good brand or a bad brand; a clear
brand or a confusing brand; a helpful brand
or an irritating brand; a responsible brand or
an irresponsible brand. It’s up to us.
Is our logo our brand?
Our logo is a thing—it identifies us on objects
and in environments. In and of itself, it doesn’t
say a whole lot about the AIGA or graphic
design. As beautiful or unique as any logo may
be, it remains essentially inanimate. Without
being placed onto or into something, it has
very little meaning.
Branding starts when the identifier is placed
into an environment.
When our logo is placed into positive environ-
ments that reflect our goals, values and
initiatives, our organization will be well-
represented and our desired messages
delivered. Placed into a poor or inappropriate
environment, the logo may only serve to
misrepresent or confuse our goals, values and
initiatives, and may reflect negatively on the
organization.
By the same token, an environment, action,
product or service may be spectacular, but
without displaying our identifier it may afford
us little or no credit for our efforts.
Our visual identity—our logo and supporting
elements—identifies us. It says who we are.
Our brand is the activation and manifestation
of our goals, initiatives, mission and values. It
demonstrates what we are, and why we are.
The purpose of our branding program is to
evoke an appropriate emotional response
from the viewer by embodying—within all our
messages and actions—the positive emotional
characteristics of the organization.
The key
The key to successfully branding the AIGA is
individual responsibility.
All those involved in creating AIGA communi-
cations, environments and initiatives—
designers, writers, the creators of products or
services, the editors, the proofreaders—
must be personally responsible for ensuring
that the positive attributes of the organization
are embodied in every effort; that the members
and audiences are being well served; that the
organization is getting credit for all its efforts.
This cannot be accomplished merely with an
identity manual or systematic branding guide-
lines. It can only be achieved with thoughtful,
intelligent, creative efforts by thoughtful, in-
telligent, creative people.
We must program, write, design and deliver
all that we do according to who we say we are.
And then we must ensure that we are credited
for all we do by clearly identifying the AIGA
and the local chapters on everything we pro-
duce, every service we offer, every initiative
we initiate, every environment we create.
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2
The official name
American Institute of Graphic Arts
The casual name
AIGA
We actually have two names: our official name–
American Institute of Graphic Arts—and our
“casual” name, the AIGA. There is no “The” in
front of American Institute of Graphic Arts,
and no periods within AIGA.
Chapters also have both a formal and a casual
name. For instance, Salt Lake City’s official
name is “American Institute of Graphic Arts,
Salt Lake City Chapter,” while its casual name
is “AIGA Salt Lake City.” Official names are
used primarily in signatures and address
blocks (see page 4).
Casual names are used “conversationally,” in
text or in headings. While they may be used
freely, they may never substitute for official
names.
Casual names should always be typeset in a
single typeface and weight—never emphasizing
any portion of the name. In the past, a diag-
onal slash between “AIGA” and the chapter
location was required, but this is no longer
the case.
Examples of official names:
American Institute of Graphic Arts
St. Louis Chapter
American Institute of Graphic Arts
Boston Chapter
American Institute of Graphic Arts
Colorado Chapter
Examples of casual names:
AIGA Los Angeles
AIGA Richmond
AIGA Philadelphia
Our name
“Casual” chapter names
AIGA New YorkAIGA Salt Lake CityAIGA Indianapolis
Incorrect
Pittsburgh
AIGA/NebraskaAIGAMinnesota
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3
In honoring our past, our new logo retains the
spirit of the previous identifier designed by
Paul Rand. But because the old logo had a ten-
dency to become lost among accompanying
type and graphics, the new logo carries with it
a bold background—a box that gives it more
presence in cluttered environments.
The letterforms have been redrawn, respaced
and fattened for greater legibility. They can-
not be replicated with any existing typeface
and must never be modified.
On page 7 of these guidelines is a palette of 24
colors selected to support AIGA communica-
tions. It is preferred that the logo be repro-
duced in one of these colors, or in black or
gray. The large logo shown here is reproduced
in “National Blue,” which is similar to
PANTONE® 5415C.
The letters “AIGA” within the box are always
reproduced as a reverse—they should never be
reproduced as a positive. An outline version
of the logo is available for use on black or very
dark backgrounds. The outline allows the logo
box to be defined while still reversing the
AIGA letters to white.
The logo should be prominently displayed on
all AIGA communications. This doesn’t mean
it needs to be large—just recognizable.
Imaginative use of the logo is encouraged.
Rather than having the logo simply placed on
communications as an afterthought, an effort
should be made to integrate and activate the
logo within communications.
Electronic artwork for both the positive and
reverse logos is available on the web at
www.aiga.org/common/chapters/
chapter_info.htm.
The AIGA logo
The positive version of the logomay be placed on any color back-ground as long as the “box” shapeis defined and the “AIGA” reverses.
The reverse or “outline” version ofthe logo is for use on medium anddark-colored backgrounds.
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4
Signatures
Every communication produced by the national
office or a chapter should have a signature
somewhere on it.
A signature is the combination of an official
name and the logo. Casual names (such as
AIGA Oklahoma) are reserved for “conversa-
tional” use and should never be combined
with the AIGA logo (see page 2).
The national or chapter official name does not
necessarily need to be placed next to or below
the logo to constitute a signature, but the two
should be somehow visually related. The
viewer should be able to understand that the
“AIGA” of the logo means “American Institute
of Graphic Arts,” and that this particular com-
munication is from the “[Location] Chapter.”
There are two types of signatures: formal and
informal.
A formal signature is the combination of the
logo with the official national or chapter name
set immediately below in Filosofia Italic,
upper- and lowercase.
Formal signatures are used for all stationery
items, including letterheads, envelopes, mail-
ing labels and business cards, and can be used
on other items whenever appropriate.
Electronic files for reproduction of the formal
signature are available at www.aiga.org/
common/chapters/chapter_info.htm.
x
x
American Institute of Graphic Arts�
� Baltimore Chapter�
� 100 East Pratt St. 4th Floor�
� Baltimore, MD 21202-1009�
� www.aigabalt.org�� �
Formal signature
Formal chapter signature
Formal signature inan address block
The ratio of the width of the logoto the width of the name is 3 unitsto 8 units. The name is positionedbelow the logo so that the “I” of“Institute” aligns flush left withthe logo. The distance betweenthe bottom of the logo and the topof the “I” in “Institute” is equal tothe height of the “G” in “Graphic.”
The second line of a signature iscentered below the first. Theleading to the second line is equalto the distance from the base ofthe logo to the base of the first lineof the name.
When a formal signature is usedwithin an address block, all copywith the exception of “American”aligns flush left with the logo.
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5
Examples of informalsignatures
American Institute of Graphic ArtsJacksonville Chapter
Examples of informalsignatures in address blocks
Incorrect
American Institute of Graphic Arts, Seattle Chapter
American Instituteof Graphic Arts164 Fifth AvenueNewYork,NY 10010
american institute of graphic artslos angeles chapter444 n. larchmont blvd.los angeles, ca 90004www.aigalosangeles.org
AIGA Chicago 855 West Blackhawk StreetChicago, Illinois 60622
Informal signatures are also the combination
of the logo and the official national or chapter
name, but may be typeset in any font appro-
priate to the communication on which they
appear.
Informal signatures and address blocks may
be used on any promotional or informational
communication other than stationery and
business cards, and national office business
forms.
The chapter “casual” name shouldnever be combined with the logoto form a signature.
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6
Filosofia Regular
Filosofia Bold
Interstate Black
Interstate Light
Interstate Light Condensed
There are two families of type that should be
used for all “permanent” AIGA materials,
including stationery, business cards, forms,
membership cards and signage: Filosofia and
Interstate. These typefaces may also be used
wherever else they may be appropriate, but
chapter promotional materials and publica-
tions are not limited to these fonts and should
be produced in the typefaces that are most
appropriate to the subject matter being
presented.
Both of these type families are available for
PC and Macintosh. Filosofia is available from
Emigre Fonts (www.emigre.com).
Interstate is available from Font Bureau
(www.fontbureau.com).
Type
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ
01234567890
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ
01234567890
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ
01234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ01234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ01234567890
abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ01234567890
Filosofia Italic
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7
In the past, our official colors were black, gray,
red and green. No more. The new color for
national is a slate teal, and now there’s also a
24-color palette from which chapters can pick
their own personalized color or color combi-
nation.
The colors shown on this page are similar to
the PANTONE® color standard numbers below
each. However, the colors shown throughout
this manual have not been evaluated by Pan-
tone, Inc. for accuracy and may not match the
PANTONE® Color Standards. For accurate color
standards, refer to the current edition of the
PANTONE® Color Formula Guide.*
Any combination of colors in the palette can
be used when producing print or electronic
communications. However, the use of these
colors for materials other than stationery is
not mandatory.
Color palette
5855 C
5497 C
142 C
5483 C
5487 C
459 C
325 C
5777 C
5493 C
652 C 149 C
5415 C
465 C
451 C
646 C 696 U
279 U
711 U
4515 C
479 C
716 U
5125 C
697 C
4715 U
*PANTONE® is a registered trademark of Pantone, Inc.
3345_alts6/16 10/4/00 4:20 PM Page 7
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9
Logo variations
The “box” of the logo doesn’t always need to be
a solid outline black, blue, red, green or purple
square. Nor does it need to be isolated from
other type and graphics as is the case with many
other logos.
The logo can become an object, a photo, an
illustration, part of a pattern, or combined with
text or image. It can be animated and made into
art. The idea is to have fun—but be responsible.
Make sure the proportions and integrity of the
box remain accurate and that it still “reads” as
the logo.
The rules regarding the positive and reverse
logos found on page 3 still apply. The letters
“AIGA” are always reproduced as a reverse out
of any background—never as a positive.
Na conscient ti ipito hossaggl
factatum neirbo et nitsu poen
legum odio que civiud neque
pecun modut est non et imper
ned soluta no bis elignet iptio
modut congue nihi est impedit
religuard odio que odio retsam
cupiditat, quas mulla est praid
omumd antet prehenderits ni
volup tate velit esse ensoluta or
3345_alts6/16 10/4/00 4:20 PM Page 9
10
Chapter print communications
Am
eric
an
Insti
tute of Graphic Arts AtlantaChapter
AIG
AAt
lant
aBest Shot 2000
O potius inflam
m ut corescend
mag
ist et d
odec nivitar igitur
vera bene sano
s as justiam. U
t
enim
nala ad
minim
veniam,
quis nostrud
exerci tati lab
oris
nisi ut eliqu
ip ex ea com
mod
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consequa
t. Dolor ni
reprehenderit n
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Integrate and activate the logo. Have it relate to
and perform with the other visual elements of
a print communication.
It can be very small or very large, subtle or bold,
but it should always be recognizable. The logo
can serve as an endorsement on a graphic com-
munication, or as a graphic itself.
And remember, the environments into which
the logo is placed will have greater influence on
how the viewer regards the AIGA than the logo
itself will ever have.
The examples shown here and onthe following spread are recrea-tions of existing communicationsand are for demonstrationpurposes only.
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11
COLLAGE 2000
AMERICAN INSTITUTE OF GRAPHIC ARTS
CHICAGO CHAPTER
3316 NORTH LINCOLN AVENUE
CHICAGO, ILLINOIS 60657
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12
BORDER TO BORDER
3345_alts6/16 10/4/00 4:21 PM Page 12
,
American Inst i tute o f Graphic Arts , Washington DC Chapter presents ( r )evolut ion of Graphic Des ign–How do you know where you 've been?
Part 1/Wednesday, September 23 - US des ign H is to r y and US Part 2/Tuesday November 17 - 20 th Centu r y Dutch Graph ic Des ign
13
3345_alts6/16 10/4/00 4:21 PM Page 13
14
TypographyLetterhead and envelopes:
10/13 Filosofia Italic.
Sequential all-cap abbreviations such as PO,
MD, DC are set in 9 pt Filosofia Italic.
Business cards:
9/11 Filosofia Italic.
Sequential all-cap abbreviations such as PO,
MD, DC are set in 8 pt Filosofia Italic.
7.75/11 Interstate Black name.
Mailing labels:
9/11 Filosofia Italic.
Sequential all-cap abbreviations such as PO,
MD, DC are set in 8 pt Filosofia Italic.
LogoColor:
Chapter’s choice from the AIGA palette with
“AIGA” reversing out to white.
Size on letterhead and envelope:
45 points x 45 points.
Size on business cards and mailing labels:
37 points x 37 points.
Chapter stationery
Stationery sets for two chapters (Raleigh and
Washington, DC) are illustrated here and
should provide adequate guidelines for most
chapters when preparing their own artwork.
Several chapters, including Washington, DC,
furnish cards for each of their board members.
In these cases, personal information such as
e-mail or personal telephone numbers should
always be listed under the individual’s name
and never be included in the chapter address
information. Information for constructing
stationery items can also be found at
www.aiga.org/common/chapters/
chapter_info.htm.
12 pt
X
X
141 pt 37 pt
align
8 ptAmerican Institute of Graphic Arts�
� Washington, DC Chapter�
� 7832 Briardale Terrace�
� Rockville, MD 20855�
� Tel 202 347 3881�
� Fax 301 963 6015�
Pat Taylor �
Advisory Board
align
X
X
8 ptAmerican Institute of Graphic Arts�
� Washington, DC Chapter�
� 7832 Briardale Terrace�
� Rockville, MD 20855�
� Tel 202 347 3881�
� Fax 301 963 6015�
Elizabeth Lichtenstein�
Student Liaison�
12 pt
X
X
141 pt 37 pt
align
8 ptAmerican Institute of Graphic Arts�
� Raleigh Chapter�
� PO Box 10849�
� Raleigh, NC 27605�
� Tel 919 472 1326�
Christy White�
President
Six-line business card
Seven-line business card
Seven-line business cardwith personal e-mail
3345_alts6/16 10/4/00 4:21 PM Page 14
15
�
18 pt
24 pt
144 pt
45 pt
12 pt
12 pt
18 pt
align
�
American Institute of Graphic Arts�
� Washington, DC Chapter�
� 7832 Briardale Terrace�
� Rockville, MD 20855�
�
�
American Institute of Graphic Arts�
� Raleigh Chapter�
� PO Box 10849�
� Raleigh, NC 27605�
� Tel 919 544 8770�
� Fax 919 828 6804�
� www.aiga.com/raleigh�
�� �
American Institute of Graphic Arts�
� Washington, DC Chapter�
� 7832 Briardale Terrace�
� Rockville, MD 20855�
� Tel 202 347 3881�
� Fax 301 963 6015�
� www.aigawashdc.org�
�� �
�
14 pt
14 pt
align
10 pt
256 pt
American Institute of Graphic Arts�
� Washington, DC Chapter�
� 7832 Briardale Terrace�
� Rockville, MD 20855�
� �
3345_alts6/16 10/4/00 4:21 PM Page 15
16 Pi
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National sponsor recognition
the official talent agency
an official corporate sponsor
the official education sponsor
Corporations that have formed long-term
relationships with the AIGA under specified
national sponsorship terms are authorized to
use the national AIGA logo with specific spon-
sorship recognition.
This use of the AIGA logo is authorized to a
sponsor only when it is licensed, in writing,
through a national relationship.
Local sponsor recognition
Chapters that offer annual sponsorship oppor-
tunities may authorize annual sponsors to
promote the relationship by using the chapter
name in a designation indicating the sponsor’s
support.
Chapters can apply their own descriptions to
the local annual sponsorship category, such as
“gold,”“annual,”“year-round,”etc.Whichever
description is selected, the sponsor’s name
or logo plus a simple tag line such as “annual
sponsor of AIGA Miami” should be used to
differentiate this recognition from a national
sponsorship.
NORTHERNPRESSannual sponsor of AIGA Seattle
ajax paper
a
gold
sponsor
of
AIGA
Wichita
3345_alts6/16 10/4/00 4:21 PM Page 16
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3345_alts6/16 10/4/00 4:21 PM Page cov3
American Institute of Graphic Arts 164 Fifth Avenue, New York, NY 10010 Tel 212 807 1990 Fax 212 807 1799 www.aiga.org
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