guidelines - the guardian

identity guidelines

Contents

09 01–04 Typography: introducingSerifa, introducing UniversCA, using Serifa, usingUnivers CA

10 01–02 Typographic variations11 01–02 Approach to

co-branding: positioning, examples

12 01 No sub-brands!13 01 Christian Aid

Week envelope14 01–04 Stationery: basic,

letterhead template, fax template, envelopes

15 01–02 Emergency: stationery, envelopes

16 01–06 Photographic style:introduction, in practice,captions/credits

17 01 Illustration styles

18 01–05 The logo shape as a graphic device:introduction, headings inlogo shape, logo angles, logoshape and cropped corners

19 01–02 Layouts: seriousapplications, angled andcoloured graphics

20 01 Posters21 01 CD covers and spines22 01–02 Addresses and contact

information23 01 Interactive:

CD-rom, film captions and end frames

24 01 Merchandise25 01–02 Please don’t: logo,

applications26 01 Contact details

*bold: section number light: number of pages within section

01 01* Introduction02 01 The Christian Aid brand03 01 Tone of voice04 01 The basic elements of

the new identity05 01–03 Introducing the new

logo: basic English versions,basic Welsh versions,breathing space

06 01–03 Using the new logo:horizontal positioning,positioning at other angles,which version?

07 01–03 Use of straplines:introducing English versionsand variants, introducingWelsh versions and variants,straplines in relation to logo

08 01 Colour palette

christian aid identity guidelines 1.0 01 01

Introduction

This is a practical book. It shows you how to use our new logo, what we want toachieve through photography, and how to use design to maximize our impact.

It gives you typographic details, colourpalettes and advice on choice of images. It provides the tools to create somethingstrong and distinctive, in a clearly markedfamily of Christian Aid communications.

It is written principally for designers andthose project managing design for print,digital, broadcast or online media, and for all those generating publicity material innational, regional or church contexts. It is

also useful for those involved in gatheringand preparing material for Christian Aidcommunications: communications officers,writers, editors and photographers.

Some examples of the materials shown in these guidelines are mock-ups solely for the purpose of illustration. Please refer to the design and production unit for furtherinformation (see contact details 26 01).

But this handbook is about more than functionality.

It’s about how we create powerful, coherent communications that areunmistakably, see-it-from-a-distance

Christian Aid. It’s about saying who we are and what we do, loudly and clearly.

It’s about hammering home the fact – too often diluted in the past by a plethora of muddy images and conflicting design – that we are uncompromising in our fightagainst poverty and injustice. These designguidelines show that we are about takingaction in a modern world. By strengtheningour voice, our stronger image will help us to make change happen.

For more information, contact Christian Aid’s design and production unit on 020 7523 2276.


Overview of theChristian Aid brand

! we provoke action, knowing that thesolution to poverty isn’t just aid deliveriesbut long-term answers that address the causes. We want you to act – to stoppoverty, to tell governments what theyneed to do, to help stem a crisis. We can’tafford to sit on the sidelines

! we lead by example. We speak out whenwe have to and aren’t afraid to take astand. In a world of growing inequality,it’s time to be counted.

From the way we answer the phone to oursupporters to how we decide whether tocondemn human rights violations or how we phrase a press statement, this coreidentity is at the heart of all we do and say.These qualities are part of everything we do and communicate.

Who we areThis new design has everything to do with who we are: an agency implacablycommitted to justice and to working side by side with people across the globe to end poverty.

At the same time, we are clear about ourroots in the churches and Christian values ofintegrity, faith, honesty and justice. We knowthat these are shared across religions andsocieties. But our heritage is profoundly and distinctively in the Christian dissentingtradition – from the abolitionist movement to the church agencies which continueworking in the midst of conflict in countriesacross the world.

What we stand forIt’s not about dogma. It’s about acommitment to humanity and a passion for justice. And it’s about the integrity to stay true to our principles, no matter what the consequences of speaking out.

We want to be an icon that appeals topeople of all ages, like a person who iswarm and engaging, and yet is willing to risk everything for freedom and justice.

The way we behave demonstrates our values:

! we are an international development and relief agency, delivering practicalbenefits on the ground. We work acrossboundaries of ethnicity, religion andnationality, where the need is greatest


A Christian Aidvoice

But we need to make sure that all of theseelements really do reinforce one another andwork towards one clear end. So, for instance:

! writing needs to be concise, vivid and direct

! headlines need to be eyecatching,memorable and immediate – even startling

! design should be bold and innovative,sometimes surprising

! images should not be predictable orpurely illustrative, but leave people with aquestion – not just an answer.

The visual identity and brand provide uswith the opportunity to leave developmentstereotypes behind. We can be less obvious,more lateral, more iconic – and make alouder bang.

! For more on our writing standards, see the Christian Aid writer’s handbook.

! For more on images, see our image guidelines.

! For more on illustration, see 17 01.

We’re not a neutral organisation, standing onthe sidelines and waiting for things to getbetter. The way we communicate conveysthe fact that we take sides – we’re not afraidto stand and be counted.

We don’t court controversy, but we don’tavoid it either. Sometimes we don’t have achoice – we have to speak out.

Because our work takes us to the heart ofsome of the most pressing issues on theplanet, we can speak with authority. Wedon’t talk down to our readers or viewers.We say what’s really happening, withouteuphemism or development-speak.

And we let people speak for themselves. It’sfar better to use the voice of a womanwhose house has been torched in Sudan’sDarfur than a detached, third-personinterpretation. This kind of vivid immediacyshapes all we do – from the way copy iswritten to the style of design and imagery.

Everything we communicate should:

! be challenging

! tell the truth

! be based on people and real experience

! be vivid and immediate.

ToneWe define our tone of voice as:

! incisive

! direct

! unafraid

! passionate

! thought provoking – even provocative

! sometimes humorous or ironic.

We can turn the volume up and be hard-hitting in a report for journalists. Or we cansoften our tone for a churches pack. We canbe direct and passionate – but for oneaudience produce an explosive news reportabout the security situation in Afghanistan,and for another audience a tender storyabout caring for someone dying of HIV in asmall hut in Ethiopia.

The important thing is that it’s the sameessential voice.

Bang and buckOur new visual identity and brand give usthe chance to bring everything together atonce: imagery, design, text and headlines.It’s the conjunction of all these elements thatwill give us most bang for our buck – thatwill really drive home the message withoutbeing strident.


The basic elementsof the new identity

Here are the basic elements of the ChristianAid identity:

1 our new logo

2 the new typefaces, Serifa and Univers CA (see typography 09 on how to use them)

3 main strapline

4 colour

5 imagery

Serifa Bold Serifa Roman Serifa LightUnivers CA Bold Univers CA Univers CA Light

Christian Aid redPantone: 485

4-colour process:C 0% M 100% Y 100% K 0%

Screen colour: R255 G0 B0 hexadecimal FF0000

1

2

3

4

5


Introducing the new logo:basic English versions

There are four versions of the basic logo:

1 red with white type (main version)

2 black with white type(for one-colour/low-cost jobs, oroccasionally for four-colour jobs whereappropriate. For example, for morereflective or youth applications – see blackmajority churches leaflet, 05 03)

3 white with red type

4 white with black type(3 and 4 only for use on dark backgrounds)

Minimum logo sizeUse the logo as big as possible in thecontext of your design. The minimum sizeyou can use it is 20mm across.File names: christian aid (CA) no strap

1 red logoCA_red_CMYK.eps (C0 M100 Y100 K0)CA_red_PMS.eps (Pantone 485)CA_red_RGB.eps (R255 G0 B0, hexadecimal FF0000)

2 black logoCA_bla.eps (C0 M0 Y0 K100)

3 white logo (red CA)CA_whi_CMYK.eps (C0 M100 Y100 K0)CA_whi_PMS.eps (Pantone 485)CA_whi_RGB.eps (R255 G0 B0, hexadecimal FF0000)

4 white logo (black CA)CA_whi.eps (C0 M0 Y0 K100)

Please contact the design and production unit for copies of the logo files and anyadvice on using them (see contact details 26 01).

1

2 3 4

Minimum logo size 20mm wide


Introducing the new logo:basic Welsh versions

There are four basic Welsh versions of the logoFile names: cymorth cristnogol (CC) no strap

1 red logoCC_red_CMYK.eps (C0 M100 Y100 K0)CC_red_PMS.eps (Pantone 485)CC_red_RGB.eps (R255 G0 B0, hexadecimal FF0000)

2 black logoCC_bla.eps (C0 M0 Y0 K100)

3 white logo (red CC)CC_whi_CMYK.eps (C0 M100 Y100 K0)CC_whi_PMS.eps (Pantone 485)CC_whi_RGB.eps (R255 G0 B0, hexadecimal FF0000)

4 white logo (black CC)CC_whi.eps (C0 M0 Y0 K100)


1

2 3 4

Minimum Welsh logo size 20mm wide

1X

1X

05 03

Introducing the new logo:breathing space

Minimum exclusion area

Please leave at least half the height of thelogo (1X in diagram) around the logo whenusing it with other logos or in a layout. Thiswill give it breathing space.

1X

1X

1X

1X

1X

christian aid identity guidelines 1.0


Using the newlogo: horizontalpositioning

In most instances the Christian Aid logoshould be positioned horizontally (see 05 02for exceptions). It works best aligned left,whether to the edge of the page or to apicture or text box above or below it.

The logo can be used on its own, or pointing to an approved strapline (top right); showing us a distant headline(bottom left); highlighting partner logos(middle right); or to point towards the next page (bottom right).

When using the logo to point towards otheritems, please adhere to the minimumexclusion zone (see 04 03) or use a logoshape if you want to point directly to text(see top left).

06 02

Using the new logo: positioningit at other angles

Although the Christian Aid logo is usuallypositioned horizontally, there are occasionswhen it can be placed at an angle.

However, please avoid using the logovertically, as pointing downwards cansometimes look too negative and pointingupwards can look rather rocket-like!There are some exceptions, such as theremittance form (see top left – where thespace demands it) or when the logo isincorporated into an image, such as theposter (bottom left).

Angled logos should be used sparingly. Here are some examples of when they can be employed:

! Christian Aid Week bagIn this vertical format, and using thehybrid Christian Aid Week logo (seeenvelopes 13 01), it was more dynamic toplace the logo at this angle.

! Christian Aid Week bi-lingual envelopeTo sit the two hybrid CAW logos side by side it was felt that slight angling was needed.

Please ask the advice of your design and production manager before using angled logos (see contact details 26 01).



Using the newlogo: which version?

Make sure you use the most appropriatelogo for the background it is placed on, orthe print process that is being used.

On a dark background, photo or illustration(see campaign guide, below right) youshould use a white logo.

For two-colour jobs using red (Pantone 485)and black make sure you employ thePantone version of the logo (PMS). Thesponsorship form (above right) uses‘CA_red_PMS_WBILBD-bl.eps’ and thecampaign guide (below right) uses‘CA_whi_PMS_WBILBD-wh.eps’.

For one-colour jobs you should use one ofthe black logos (see the Christian Aid Week06 feedback card, top left) or if it is onlybeing printed in red, a PMS red logo.

If you are using the logo on-screen, you will need to go with one of the RGB logos. The loading page (middle right) of theChristian Aid Week 06 CD-rom uses the RGB red-on-white version of the basic logo‘CA_whi_RGB.eps’.

On 4-colour jobs, where appropriate, for example on more reflective or seriouspublications, a black logo may be used(see the black majority churches leaflet, bottom left).


Use of straplines:introducing Englishversions and variants

Our main strapline is ‘We believe in lifebefore death’, which should always be usedon corporate and church items.

However, we sometimes use alternativestraplines depending on the publication.Alternative straplines allow us to be versatile and flexible, whether we’repromoting a campaign or raising money –‘You add. We multiply’ being a primeexample. But all alternative straplines musthave prior approval from the director ofExternal Relations.File names: We believe in life before death

1 red logo, black strap:CA_red_CMYK_WBILBD-bl.epsCA_red_PMS_WBILBD-bl.epsCA_red_RGB_WBILBD-bl.eps

2 red logo, red strap:CA_red_CMYK_WBILBD-re.epsCA_red_PMS_WBILBD-re.epsCA_red_RGB_WBILBD-re.eps

3 white logo (red CA), white strap:CA_whi_CMYK_WBILBD-wh.epsCA_whi_PMS_WBILBD-wh.epsCA_whi_RGB_WBILBD-wh.eps

4 red logo, white strap:CA_red_CMYK_WBILBD-wh.epsCA_red_PMS_WBILBD-wh.epsCA_red_RGB_WBILBD-wh.eps

5 black logo, black strap:CA_bla_WBILBD-bl.eps

6 white logo (black text), white strap:CA_bla_WBILBD-bl.eps

File names:You add. We multiplySame file names except replace ‘WBILBD’ with ‘YAWM’ ie

1 red logo, black strap:CA_red_CMYK_YAWM-bl.epsCA_red_PMS_YAWM-bl.epsCA_red_RGB_YAWM-bl.epsetc


1

5

2 3

64

1

5

2 3

64


Use of straplines:introducing Welshversions and variants

Here are the Welsh versions of the ChristianAid logo with the main strapline ‘Credwnmewn byw cyn marw’ (‘We believe in lifebefore death’) and the Christian Aid Week2006 strapline ‘Lluosogi’ch rhoddion’ (‘You add. We multiply’).File names: logo with ‘Credwn mewn byw cyn marw’ (CMBCM) strap

1 red logo, black strap:CC_red_CMYK_CMBCM-bl.epsCC_red_PMS_CMBCM-bl.epsCC_red_RGB_CMBCM-bl.eps

2 red logo, red strap:CC_red_CMYK_CMBCM-re.epsCC_red_PMS_CMBCM-re.epsCC_red_RGB_CMBCM-re.eps

3 white logo (red CC), white strap:CC_whi_CMYK_CMBCM-wh.epsCC_whi_PMS_CMBCM-wh.epsCC_whi_RGB_CMBCM-wh.eps

4 black logo, black strap:CC_bla_CMBCM-bl.eps

5 black logo, black strap:CC_bla_CMBCM-bl.eps

6 white logo (black CC), white strap:CC_bla_CMBCM-bl.eps

File names: logo with ‘Lluosogi’ch rhoddion’ (LR) strapSame file names except replace ‘CMBCM’ with ‘LR’ ie1 red logo, black strap:

CC_red_CMYK_LR-bl.epsetc


1

5

2 3

64

1

5

2 3

64


Use of straplines:straplines in relation to logo

Never try to add a strapline to a basicversion of the Christian Aid logo. Always usethe supplied files of the logo with straplines(see 06 01, 06 02 for the different versions).

Straplines are in Serifa Roman and are sizedin proportion with the logo.

The tables, left, show the dimensions of thelogo and corresponding point size of thedifferent strapline versions, when scaled.

There is a special letterhead version of the‘We believe in life before death’ logo andstrapline, where the strapline is smaller inrelation to the logo than in the main version.The logo is used at 60mm (30%) and itsstrap is 10pt. (See 14 01, 02 for moreinformation on the letterhead.)Please contact the design and production unit for copies of the logo files and anyadvice on using them (see contact details 26 01).

Christian Aid logos (English and Welsh) with‘We believe in life beforedeath’ (WBILBD) strap 50mm version shown left

logo width % WBILBD

200mm 100% 60pt150mm 75% 45pt100mm 50% 30pt90mm 45% 27pt80mm 40% 24pt75mm 37.5% 22.5pt70mm 35% 21pt60mm 30% 18pt50mm 25% 15pt40mm 20% 12pt30mm 15% 9pt25mm 12.5% 7.5pt20mm 10% 6pt

Christian Aid logos (English and Welsh) with‘You add. We multiply’(YAWM) strap50mm version shown left

logo width % YAWM

200mm 100% 70pt150mm 75% 52.5pt100mm 50% 35pt90mm 45% 31.5pt80mm 40% 28pt75mm 37.5% 26.25pt70mm 35% 24.5pt60mm 30% 21pt50mm 25% 17.5pt40mm 20% 14pt30mm 15% 10.5pt25mm 12.5% 8.75pt20mm 10% 7pt

Christian Aid logos (for letterhead only) with‘We believe in life beforedeath’ (WBILBD) strap 50mm letterhead versionshown left

logo width % WBILBD

200mm 100% 40pt60mm 30% 12pt


Colour palette

The main Christian Aid colour is red, which is accompanied by black, white andwarm grey 4 in the primary colour palette(top left and right).

The red should be used prominently to giveour communications a distinct identity.

In addition to the primary palette there aretwo secondary palettes of six colours each:

! a bright palette (left)

! a muted palette (right)

These colours have been chosen tocomplement the primary palette and to add variation to certain Christian Aid items(for example, to differentiate issues of aquarterly magazine).

You can use colours from both secondarypalettes in the same item if appropriate. But please don’t use lots of coloursunnecessarily, or use any colours outside the colour palette.

You may also use limited tints of thesecolours (75%, 50% and 25%) to add furthersubtlety if appropriate to the design.

However, do not place a red Christian Aidlogo against a 75% tint. Use a 25% or a 50%tint to ensure enough contrast.

75% 50% 25%

75% 50% 25%

75% 50% 25%

75% 50% 25%

75% 50% 25%

75% 50% 25%

75% 50% 25%

Christian Aid redPantone: 4854-colour process: c0 m100 y100 k0Screen colour: r255 g0 b0 html FF0000

Pantone: warm grey 44-colour process: c11 m14 y14 k27Screen: r183 g177 b169 html B7B1A9

Pantone: process cyan4-colour process: c100 m0 y0 k0Screen: r0 g159 b218 html 009FDA

Pantone: 3624-colour process: c80 m0 y100 k0Screen: r63 g156 b53 html 3F9C35

Pantone: process magenta4-colour process: c0 m100 y0 k0Screen: r209 g0 b116 html D10074

Pantone: 130:4-colour process: c0 m35 y100 k0Screen: r240 g171 b0 html F0AB00

Pantone: 1654-colour process: c0 m70 y100 k0Screen: r255 g99 b25 html FF6319

Pantone: 24054-colour process: c40 m100 y0 k0Screen: r164 g0 b132 html A40084

75% 50% 25%

75% 50% 25%

75% 50% 25%

75% 50% 25%

75% 50% 25%

75% 50% 25%

Pantone: 3014-colour process: c100 m40 y0 k40Screen: r0 g82 b147 html 005293

75% 50% 25%

Pantone: process black4-colour process: c0 m100 y100 k100Screen: r0 g0 b0 html 000000

Pantone: 5754-colour process: c50 m100 y0 k50Screen: r85 g118 b48 html 557630

Pantone: 2074-colour process: c0 m100 y40 k20Screen: r167 g2 b64 html A70240

Pantone: 12454-colour process: c0 m20 y100 k20Screen: r197 g146 b23 html C59217

Pantone: 4634-colour process: c15 m55 y95 k65Screen: r108 g77 b35 html 6C4D23

Pantone: 6684-colour process: c70 m70 y0 k20Screen: r97 g77 b125 html 614D7D

Primary palette

Secondary palette: bright Secondary palette: muted

White


Typography:introducing Serifa

Serifa is the main Christian Aid typeface, as supplied by Bitstream.

There are three weights:

! bold

! roman

! light.

Roman and light also have italic versions.

The logo uses Serifa Bold, and the straplineis Serifa Roman.

Serifa BoldAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz0123456789!?&

SerifaAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz0123456789!?&Serifa ItalicAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz0123456789!?&

Serifa LightAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz0123456789!?&Serifa Light ItalicAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz0123456789!?&


Typography:introducing Univers CA

Univers CA is the secondary Christian Aidtypeface, a specially adapted version ofUnivers supplied by Monotype, with addedWelsh characters and a version for children.

The standard version comes in roman, bold and light, with matching italics.

The infant version comes in roman and bold, with matching italics.

Both have added Welsh characters toaccommodate circumflex accents over upper- and lower-case ‘w’ and ‘y’.

The keystrokes to produce these extracharacters are:

! ª alt + 9

! º alt + 0

! ƒ alt + f

! ¬ alt + l

The infant version has modified lower-case versions of ‘a’, ‘q’ and ‘y’ forimproved legibility. These alternativecharacters are highlighted in the example,left. The other characters are the same as in the standard version.

Univers CAAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwªºXxYyƒ¬Zz0123456789!?&

Univers CA ObliqueAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwªºXxYyƒ¬Zz0123456789!?&

Univers CA BoldAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwªºXxYyƒ¬Zz0123456789!?&

Univers CA Bold ObliqueAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwªºXxYyƒ¬Zz0123456789!?&

Univers CA LightAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwªºXxYyƒ¬Zz0123456789!?&

Univers CA Light ObliqueAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwªºXxYyƒ¬Zz0123456789!?&

Univers CA InfantAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwªºXxYyƒ¬Zz0123456789!?&

Univers CA Infant ObliqueAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwªºXxYyƒ¬Zz0123456789!?&

Univers CA Infant BoldAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwªºXxYyƒ¬Zz0123456789!?&

Univers CA Infant Bold ObliqueAaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwªºXxYyƒ¬Zz0123456789!?&


Typography:using Serifa

As a guide to using Serifa, follow thesuggestions, left.

The following recommendations for leadingwork well on a baseline grid of multiples ordivisions of 3.5pt:

1.75pt

3.5pt

5.25pt

7pt

8.75pt

10.5pt

12.25pt

14pt

15.75pt

17.5pt

etc

Remember. Legibility is the key to effective communication.

Only use Serifa (light, roman, bold)for headings, sub-heads and pull quotes,never for body copy.The smallest size you should ever use Serifa is 10.5pt

the one exception is the address blockwhich is set in 8pt on 8.75pt, Serifa Light and Serifa Bold

All weights of Serifa work well at 100% leading.(This is 14pt on 14pt)

In some instances (for example, with short headings at large point sizes) the leadingcan be less than 100%

Tracking

The minimum tracking for Serifa Bold is 0 in Quark, 0 in Illustrator/InDesign, and 0 in Freehand

The minimum tracking for Serifa Roman is -2.5 in Quark, -12.5 in Illustrator/InDesign, and -1.25 in Freehand

The minimum tracking for Serifa Light is -5 in Quark, -25 in Illustrator/InDesign, and -2.5 in Freehand

but be careful oftouching descenders&ascenders (this is28pt on 21pt)


Typography:using Univers CA

As a guide to using Univers CA, follow thesuggestions, left.

The following recommendations for leadingwork well on a baseline grid of multiples ordivisions of 3.5pt:

1.75pt

3.5pt

5.25pt

7pt

8.75pt

10.5pt

12.25pt

14pt

15.75pt

17.5pt

etc

Remember. Legibility is the key to effective communication.

Univers CA (light, light italic, roman, roman italic, bold, bold italic, infant,infant italic, infant bold, infant bold italic) should be used for body copy, credits and small captions,never for headings, sub-heads or pull quotes.

For main body copy using the standard version of the font, do not go below 8.5pt

or above 12pt

Ideally use 14pt (on 17.5pt) or above, when using Univers CA Infant

Avoid reversing large sections of body copy out of black orChristian Aid red as it is hard to read, particularly under 11pt.

Where possible, limit reversing out to short captions inbold, or the Serifa headings.

Never use black text on red.

With Univers CA, as a general guide, leading should be at least 115% (this is 11pt on 14pt – 127%)

With Univers CA, as a general guide, leading should be at least 115% (this is 8.5pt on 10.5pt – 123%)

With Univers CA, as a general guide, leading should be at least 115%(this is 6pt on 7pt – 117%)

Track Univers CA at -1.5 in Quark, -7.5 in Illustrator/InDesign, and -0.75 in Freehand

Track Univers CA Bold at -1 in Quark,-5 in Illustrator/InDesign, and -0.5 in Freehand

Track Univers CA Light at -2 in Quark, -10 in Illustrator/InDesign, and -1 in Freehand


Typographicvariations

Here are some items from Christian AidWeek 2006, showing various styles of type.

The promotional flyer (top left) is designedto get church leaders excited about theactivities and events of Christian Aid Week.The cover copy is written in an informal andconversational style, and the angles and sizeof the Serifa Light and Bold used reflect this.

The fundraising toolkit (top right) showshow all three weights of Serifa can work sideby side on a contents and introduction page.Although the Serifa is used at large pointsizes (14pt and 17.5pt), it is not reversed outof red because it is a long passage of text.

The Christian Aid Week planning pack(bottom left) illustrates how a lot ofinformation can be included withoutcompromising clarity by combining Serifaand Univers CA.

The worship and education pack A2 poster(bottom right) shows how you can useminus leading on small amounts of text atlarge point sizes to give more impact to aheading. (For more advice on this seetypography 09 03.)


Typographicvariations: continued

Here are some more Christian Aid itemsshowing different type styles.

The Christian Aid Week 06 prayer card (top left) illustrates how Serifa Light (with atouch of Serifa Bold) can create a quiet andreflective mood.

A spread from Christian Aid Active(top right) shows how a lot of informationcan enjoy clear design by combining Serifa and Univers CA. It also shows howtype can work on colour tints from themuted secondary colour palette (see colourpalette 07 01).

The Christian Aid Week 06 Dream Ticket(bottom left) shows how Univers CA Infantcan be combined with the logo to create afun and interactive item for children.

The Christian Aid Week 06 worship and education pack poster worksheet(bottom right) combines information for teachers in Univers CA, along with aphotocopiable story in Univers CA Infant for children. Serifa Bold and Light are usedfor the headings to strengthen the ChristianAid identity.


Approach to co-branding:positioning

When the Christian Aid logo appearsalongside other logos, it should appear first,pointing towards the other logos (1).

In a horizontal line-up, the other logosshould be centred vertically with theChristian Aid logo.

In a vertical line-up, the logos should bealigned left (4 and 5).

The minimum space around the ChristianAid logo is 1X (see 04 03 for moreinformation). There needs to be at least thisamount of space between the Christian Aidlogo and other logos.

The only exception is when there is textabove, below or to the side explaining therelationship of the logos (2, 3 and 5). In thiscase, the minimum space between theChristian Aid logo and the text line is 1/2X.

In horizontal line-ups the text should beranged left with the logo block when aboveand/or below the logo (2). When using ‘inpartnership with’ or ‘working with’ after theChristian Aid logo in horizontal line-ups the text should be centred vertically with theChristian Aid logo (3).

In vertical line-ups any text lines should beranged left with the logo block (5).

1

2

3

4 5

11 02

Approach to co-branding:examples

The greetings card back (top left) shows howthe white logo works alongside one-colourpartner logos with explanatory text aboveand below.

The campaign handbook (top right)demonstrates how a four-colour logo worksalongside four-colour partner logos.

On books (bottom), the logo should beplaced on the left of the cover. On bookspines (bottom) the logo should bepositioned at the top with any copy readingaway from it.

Also make sure there is enough spacebetween the logo and other elements in thedesign (see exclusion zones in approach toco-branding 11 01).Note: The Book of Bread (bottom) is not a good example of the new visual identity– we had no control over its design!

Proceeds from the sale of this card support

Working together w

ith the poor in developing countries



No sub-brands!

With such a strong visual identity, there should be no need to develop discreet sub-brands.

These examples show how regular titles (egquarterly publications) are designed, wherea degree of consistency and recognition isrequired. All designs resonate with theChristian Aid logo, and clearly emanate fromthe Christian Aid visual identity. They are notsub-brands.

In Take Action (top left and bottom middle)the logo shape has been incorporated intoan exclamation mark which, coupled withthe use of Serifa Bold, emphasises thepublication’s campaign focus. The ChristianAid logo also appears on the front cover.

The treatment of the mpower (top andbottom right) title is inspired by the ChristianAid logo and plays on the accessible,contemporary spirit of the lower-case font.Note again, that the main logo is used.

In Christian Aid Active (middle and bottomleft), as an exception to the normal rules, our logo points to the word ‘active’ to createa dynamic title. Specific design treatments for regular titles must be developed in conjunction with the design and production unit (see contact details 26 01).


Christian Aid Weekenvelope

The Christian Aid Week envelope is theorganisation’s most iconic symbol. As such ituses a hybrid version of the logo, carryingthe words ‘Christian Aid Week’ within theenvelope shape.

The English language version of the 2006Christian Aid Week envelope is shown topand middle. The bilingual (English/Welsh)version of the 2006 Christian Aid Weekenvelope is shown as a thumbnail, bottom.

Frances McConnellHead of design and productionChristian Aid35 Lower MarshWaterlooLondon SE1 7RLT +44 (0)20 7523 2276F +44 (0)20 7620 [email protected]


Stationery:basic

Here are some examples of Christian Aid printed stationery and a list of templates available:

! letterhead (Welsh, Scottish, Irish andLondon versions; and versions for all area offices)

! compliment slips (Welsh, Scottish, Irishand London versions)

! news contact letterhead

! news release letterhead (top right)

! address labels

! continuation labels

! business cards (top left)

! authority for payments (A5/NCR forms in pads)

! finance receipt books

! grant pads (used by international teams)

! Christian Aid trading letterheads

Holding design idea

14 02

Stationery: letterhead template

The Christian Aid letterhead template (on theLondon office printed stationery) is set in the universal cross-platform font, Arial.

There is no need to set up your ownletterhead file, as this template is availableas a Microsoft Word file.

Here’s the full list of Christian Aid stationery templates:

! letterhead

! fax letterhead (see example on 14 03)

! news contact letterhead

! news release letterhead

! address labels

! continuation labels

! Christian Aid trading letterheads

! Christian Aid memo

11m

m50

mm

104m

m82

.5m

m

5mm

22mm 22mm

40m

m

60mm

text Arial 11pt on 14pt


14 03

Stationery: fax template

The Christian Aid fax template (which has no printed version) uses the universal cross-platform font, Arial.

There is no need to set up your ownletterhead file, as this template is availableas a Microsoft Word file.

11m

m50

mm

104m

m

22mm 22mm

40m

m

60mm

text Arial 11pt on 14pt

5mm



Stationery: envelopes

Here are some examples of envelopes weuse regularly.

Christian Aid ‘generic’ envelope rangeThe basic range of envelopes for themajority of Christian Aid mailings areshown, top. (C4 top left, C5 top right and DL middle right.)

Take Action envelopeThe C4 envelopes used for Take Actionmailings are shown, bottom.


Emergency: stationery

This page shows the front and reverse of the emergency letterhead. This prints litho,using Christian Aid red (pantone 485) andblack, apart from the personalised elementswhich are overprinted for mailsort.


Emergency:envelopes

Here are some examples of envelopes weuse for emergency mailings.

Christian Aid outer emergency envelope This oversize DL window envelope (top), is used to mail out appeal letters with thereturn envelope enclosed.

Christian Aid return emergency envelopeThis undersize DL envelope (bottom) is forsupporters to return to Christian Aid withtheir donations.


Photographic style:introduction

Photography is one of the most compellingand democratic ways of communicating. In an age when many people have a digitalcamera or camera phone, and when theworld is increasingly linked up, how do wegive our photography an individual voice?How do we make it rise above the wallpaperthat is all too often the predictable output ofdevelopment agencies?

Christian Aid is known for its intelligent andcreative use of strong and clear images. We have worked with photographers fromSebastião Salgado and Don McCullin toFelicia Webb and Tim Hetherington, as wellas drawing on the photographs taken by our staff.

Our new design style gives us a chance tosharpen up our use of photography, to usethe full power that imagery offers. We wantto see photographs that are:

! bold! immediate! unexpected! realistic – even to the point of showing

something painful! respectful of people and the complexity

of their lives.

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Photographic style:introduction, continued

This isn’t simple illustration. Of course, weneed the photo of someone who has a newhome or whose child can now go to school,thanks to the work of a Christian Aid partner.But this new design takes us away fromillustration and literal images.

A Christian Aid photograph aims to do morethan show what a place or person looks like.It’s about moving the viewer towards agreater understanding of the context, or thesignificance of the event. Words are fine –but a photo is what can take a person’sbreath away, or sear itself in their memory.

Increasingly, our photographs will beabstract or iconic – so strong that they standfor more than the immediate subject –showing the bigger picture, not just theliteral one.

For more information about Christian Aidphotography, see Christian Aid imageguidelines and Working with photographs,both available on the intranet or directlyfrom the Photo section.

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Chr

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Chr

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Photographic style:in practice

Cropping

Our preference is to use photographs in full,uncropped, and with as little interference tothe image as possible. Within the limitationsof a publication’s layout, content andbalance, a photograph may be cropped alittle. When a picture is cropped, we try not to do it in a way that changes itsmessage or reduces its emotional impact.

Selection

Strong photographs stand on their own. Infact, lead images must stand on their own.We will not authorise the use of a coverpicture simply because it is the only oneavailable of a particular person or project. If it is weak and does not convey the senseof passion and urgency in our brand, we will not use it.

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Photographic style:in practice, continued

Black and white versus colour

Our photos are shot in colour. But we maychoose to use them in black and white tokeep costs down or for a particular, moreabstract, effect. Black and white photos canbe compelling in their directness andimmediacy. In future some professional tripswill be shot in black and white in order toemphasise this quality.

Cutouts and montage

In some cases, images are best used incutout (4), or in montages or tinted (3). These design adaptations must be done in consultation with the Photo unit.

Technical quality

Photos must be accurately exposed and in focus. The photos the photo sectionprovides digitally are scanned as jpegs at300 dots per inch and provided at thatresolution. When they are used on-screen(videos and websites), the resolution shouldbe 100 dots per inch.

There are three file sizes: for PowerPoint,press and print uses, varying in size from900Kb to 18Mb. Photos for use on websitesare optimized and resized by the Photosection before use.

21

3

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Photographic style:captions/credits

All photographs must be credited and,where appropriate captioned. Captions mustbe accurate and include the person’s nameand where they are. They should not merelydescribe what is in the photo but providesome additional information.

Credits

Photos must always be credited.

Those taken by Christian Aid’s staff arecredited: Christian Aid/[name]

Those by agency photographers are credited: [name]/[agency]

Photos taken by photographers hired by usbut attached to an agency are credited:Christian Aid/[name]/[agency]

General rules for photo credits

Photo credits should be set in Univers CABold at 5pt and placed within the photo next to one of its edges, always rangingfrom a corner.

If placed on the left side of the photo, creditsshould run upwards (1), and if placed on theright side of the photo, credits should rundownwards (2), so that the ascenders arealways facing the edge of the photo.

1 2


Photographic style:captions/credits,continued

The exception to a photo credit’s standardplacement is when the image is displayed atan angle which would cause a conventionallydisplayed credit to run upside-down (such asin Take Action, 3). In this case the ascenderscan face into the photo.

On Christian Aid’s printed items (up to A4 insize), the credits work well inset on bothedges of the photo at a distance of 3.5pt or1.235mm (1, 2, and 4). For bigger items,(such as A2 posters) the credits need to befurther inset. This A2 poster credit (4) hasbeen inset by 7pt (2.469mm).

Occasionally you’ll need to place creditsoutside the photo for legibility reasons. Butwe’ll brief you accordingly if this is the case.

Where to get them

All Christian Aid photographs are edited andheld by the Photo section in the Publishingdivision. You can view most of our collectionon the Extensis portfolio on the Christian Aidweb browser.

Contact the Photo section on 020 7523 2235or at [email protected], to request an image. Cover or lead images must becleared by the Photo section.

4

3

17 01

Illustration styles

We are developing different styles tocommunicate effectively about a wide rangeof issues. In line with the brand, we areexploiting our strong colour palette, usingblock and line art to convey a dynamic,accessible and contemporary style.

Here are four distinct styles using the new identity:

1 LifeSwitch

2 Take Action postcard

3 mpower posters

4 black majority churches leaflet

1

3

4

2



The logo shape as a graphic device:introduction

The Christian Aid logo shape can be used as a graphic device, which can add extrastrength to the Christian Aid brand. Butoveruse is likely to weaken the brand, sodon’t use the shape without good reason(see please don’t 25 02).

It can be used to present information in theform of charts and graphs, as a pointer, or aspart of an illustration.

Think about the context you are using it in.We want to avoid negative connotations, soif you are unsure that you are using it in thecorrect way please contact the design andproduction unit (see contact details 26 01).

10 20 16 7

E Europe & C Asia

1,300,000

W Europe

580,000

N America

1,000,000

C America

430,000

S America

1,600,000

N Africa &Middle East

480,000

E Asia

900,000

S & SE Asia

6,500,000

S Africa

25,000,000

Australasia

32,000


The logo shape as a graphic device:introduction continued

Trade justice brochure (top left): Q&Ashowing dynamic use of the shape.

Christian Aid Week 2006 CD-rom(middle right): the loading icon graduallyturns in to an asterisk as the CD-rom loads.

Christian Aid Week 2006 children’s poster worksheet (bottom left): here the logoshape is used as speech bubbles, in whichchildren can read about Selamawit’s life in Ethiopia.


The logo shape as a graphic device:headings in logo shape

The logo shape can also be used to holdtext, in particular to highlight headings.

The logo shape has been used to carry titles and headlines in these Christian Aid Week2006 materials:

! Worship and education pack A2 poster(top left)

! Collector’s guide spread (top right)

! Fundraising toolkit page(detail, bottom left)

When placing text in the logo shape, makesure the text box is inset from the shape (seelogo shapes, bottom right).

The headings work well if you range the textleft when the logo shape is pointing to theright, and range the text right when the logoshape is pointing to the left.

Try not to run the heading over more than three lines.

Headingranged leftor…

Headingranged right

inset from edge of logo shapeis 5% of logo shape width ie the inset on this 80mm widelogo shape is 4mm


The logo shape as a graphic device:logo angles

In addition to using the Christian Aid logo,typefaces and colours, you can use angles of the logo type and point in your design(see diagram, top left). This is a good way of stamping a publication with the ChristianAid identity.

The 36-degree angle is used on the ChristianAid Week poster (top right) to crop thecorner off the picture box (please seeoverleaf for more information on the correctway to do this).

The minus 3-degree angle is used to createthe title bar on the Christian Aid Weeksponsorship form (bottom left).

Both the 5-degree (‘cause’) and the minus 3-degree (‘a stir’) angles have been used onthe Christian Aid mug (bottom right).

+36O

-3O

+5O


The logo shape as a graphic device:logo shape andcropped cornersWhen using the 36-degree cropped corneron a picture or graphic box to echo the logo shape, please proceed in one of thefollowing ways:

1 When cropping the left corner of the box which is directly above or below alogo or logo shape (in examples 1a and b this is the top left corner, but it could be the bottom left corner if the logo orlogo shape is at the bottom), please crop the corner to align with the logo (see 1a and 1b).

2 When cropping any of the other threecorners (either corners on the right, or the corner on the left furthest awayfrom the logo or logo shape) please cropit so it is the same angle as the angle onthe logo edge (see 2a and b).

Please only use a 36-degree angle for thecrop, as other angles would not cohere withthe identity.

1b

1a 2a

2b


Layouts:serious applications

The Christian Aid identity can be used todesign publications which deal withthoughtful or serious issues and themes.

White space, use of Serifa Light, and simply-styled range-left type help convey the seriousness of these brochure coversand interiors.

! trade/theology paper Lifting the burden,weighting the rules (top): a reflectionpaper on the links between fair trade and theology.

! the black majority churches leaflet(middle): dealing with the sensitive issueof HIV.

! Prayer diary (bottom): mailed out withChristian Aid News four times a year.

The Prayer Diary cover uses an unusual crop of a photo. Please ask permissionfrom the Christian Aid Photo unit if severely cropping an image, by contacting thedesign and production unit (see contact details 26 01).


Layouts: angled and coloured graphics

The Christian Aid identity can be used todesign publications which deal with activeand provoking issues.

Angles, use of Serifa Bold, and colour helpgive these documents a dynamic feel toecho the content inside.

! Take Action (top): a magazine forcampaigners produced five times a year.

! Trade justice leaflet (middle): a booklet which explains trade justice to campaigners.

! Resources catalogue (bottom): sent outwith Christian Aid News, our supportermagazine, four times a year.


Posters

Here are some examples of Christian Aidposters using the new identity.

Best-practice pointers:

! Make it bold and simple: a poster shouldhave one clear aim and message

! Use no more than three main elements

! It can be photo-led or copy-led

! It should have immediate impact fromnear or far

! Use words sparingly

! Use striking copy

! Use strong typography

! Don’t underestimate your audience

! A poster is not a large brochure cover

! Avoid long photo captions or descriptions

! Contact information should be minimalbut clear

! Use the logo shape for a specific purposerather than decoratively

! Less is more!

frees the world’s poorest from poverty. Visit christianaid.org.uk

frees the world’s poorest from poverty. Visit christianaid.org.uk

Help us getthe gunsout of Africa

Forgive usfor flaggingthis up(Global estimates of HIV and AIDS as of the end of 2003)

E Europe & C Asia

1,300,000

W Europe

580,000

N America

1,000,000

C America

430,000

S America

1,600,000

N Africa &Middle East

480,000

E Asia

900,000

S & SE Asia

6,500,000

S Africa

25,000,000

Australasia

32,000

believes in life before death. Visit christianaid.org.uk


CD covers and spines

Here are some examples of CD packagingusing the new Christian Aid identity.

! ‘generic’ CD cover front and label (top right)

! Christian Aid Week 2006 CD cover front,back and label (bottom right)

! CD spines (left)Suggestions about how to use ChristianAid branding on spines, which are too narrow for the minimum Christian Aid logo of 20mm (8.85mm high) areshown, left.

christian

aid

serifa bold13pt,

0 tracking

flag 5mm

x-heightcentred

flag h = xheight


Address blocks andcontact information

Working with a fixed address block isproblematic for small items where it takesup disproportionate space.

We are therefore introducing a hierarchy ofaddress blocks which will allow us to beflexible in terms of format and audience.Sometimes only the web address andtelephone number need appear.

On the majority of printed publications (up to A4 in size), the address block is set in8pt on 8.75pt (Serifa Bold and Light).

On larger items (such as the A2 Christian AidWeek 06 poster overleaf, see 7) the type sizemay need to be increased. This A2 poster is 14pt on 14pt.

1 Christian Aid Week 06 folder

2 Christian Aid Week 06 A4 thank you poster

3 Christian Aid Week 06 A6 action postcard

4 Take Action issue February 06

1

2

4

3


Address blocks andcontact information:continued

5 Christian Aid Week 06 A5 Act of Worship leaflet

6 Christian Aid Week 06 A4 sponsorship form

7 Christian Aid Week 06 A2 worship andeducation pack children’s poster

5

6

7

UK registered charity number 1105851 Company number 5171525Republic of Ireland charity number CHY 6998

Websiteswww.christianaid.org.ukwww.christian-aid.ieChildren’s website www.globalgang.org.ukPhone numbers Britain: 0845 7000 300Northern Ireland: 028 9038 1204Republic of Ireland: 01 611 0801


Interactive:CD-rom

Here are stills from the Christian Aid Week2006 CD-rom. This demonstrates how theChristian Aid identity can be used in aninteractive environment. The logo shapeworks well as a simple navigational device indirecting the viewer to key sections and thedesign allows for plenty of white space.

The visual identity is used prominently inthis example because it marks the identity’spublic launch. A subtler use would suit mostdesign briefs.


Merchandise

Examples of Christian Aid merchandiseusing the new identity.

Christian Aid has an ethical sourcing policy. You should check with Peter Kobelis,Facilities manager, 020 7523 2028 to ensure that any merchandise items conform with this.


Please don’t: logo

The logo

The Christian Aid logo should always beused as supplied, in the correct Christian Aidcolours and should never be recreated.

Please don’t:

1 change the colour of the logo

2 place the logo on a complicated photo orinappropriate background colour

3 recreate the logo in another font

4 change the angles of the words ‘christian’ and ‘aid’

5 change the angle of the arrow

6 highlight a part of the logo in another colour

7 scale or reposition the type within the arrow

8 change the size of the words ‘christian’and ‘aid’

9 add other words to the logo to createheadings or sub-brands

10 move the position of the strapline

11 change the typeface of the strapline

12 change the scale of the strapline inrelation to the logo

11

12

6

7

8

9

10

1

2

3

4

5


Please don’t:applications

General

Always be careful to use the correctChristian Aid colours, typography, andphotographic and illustrative styles.

Please don’t:

1 use colours that aren’t part of theChristian Aid colour palette

2 use non-Christian Aid typefaces

3 use angles that don’t relate to theChristian Aid identity

4 put type next to the arrow graphic devicewithout vertically aligning it to the centreof the arrow

5 overuse the arrow as a graphic device

6 put other items too close to the logo

7 align the logo to the right of a layout

8 size or position the photo creditinappropriately in the layout (see 16 05, 06for exact guidelines on photo credits)

1 2 3 4

5 6 7 8


Contact details

For more information about these identity guidelines please contact ChristianAid’s head of design and production, Frances McConnell, on 020 7523 2276 or at [email protected]

For more information about photo usage,please contact Christian Aid’s head ofphotos, Joseph Cabon, on 020 7523 2235 orat [email protected]

For more information about guidelines forwriting, please contact Christian Aid’s headof editorial, Sarah Stewart, on 020 7523 2234or at [email protected]

guidelines - the guardian

Documents