Version 1.1.1

BOOK OFSTANDARDSDESIGN AND BRAND GUIDELINES

PAC/WEST DESIGN AND BRAND GUIDELINES

DESIGNED AND CREATED BY:IAN WHITEHOUSE AND IVAN VEJAR

PAC/WEST COMMUNICATIONS8600 SW ST. HELENS DRIVE, WILSONVILLE, OR 97070503-685-9400

TABLE OF CONTENTS

SECTION 1 - COLOR

SECTION 3 - TYPOGRAPHY

SECTION 5 - OUR STANDARDS

SECTION 7 - FILETYPES

SECTION 2 - LOGOTYPE

SECTION 4 - OUR BRAND

SECTION 6 - BASECAMP

PAGE 1

PAGE 6

PAGE 19

PAGE 26

PAGE 2

PAGE 10

PAGE 21

BOOK OFSTANDARDSDESIGN AND BRAND GUIDELINES

CHANGELOG

## [1.1.1] - 2016-03-14### Changed- Update state proposals- Add Pac/West brand presentation materials

## [1.0.0 RC1] - 2015-10-23### Condition Change- First Release Candidate. Sent to Print. ### Changed- Made 0.4.1 changes to copy based on edits for C. Ion

## [0.4.1] - 2015-10-1### Added- Calendar step to Basecamp section### Changed- Made changes to copy based on edits for C. Ion

## [0.4.0] - 2015-09-13### Added- Add email signatures

## [0.3.1] - 2015-08-04### Added- Added Basecamp Standards pages [COMPLETE]- Added Definition page [COMPLETE]- Added second option to display Pac/West colors## [0.2.3] - 2015-06-03

1

COLORPac/West Blue is our hero color. We use Pac/West Blue to clearly signify the presence of Pac/West and to help our clients immediately identify us. Use this color generously for our type, charts and as a background.

We have a select set of supporting colors which help Pac/West Blue to thrive. In the majority of uses, we want strong contrast between all of the colors used. Solid colors work best in printed applications and for text.

The gradients are best applied in digital applications like our website and email.

“Design is a funny word. Some people think design means how it looks. But of course, if you dig deeper, it’s really how it works.”

-Steve Jobs

The Pac/West Book of Standards was created to help unify the image of Pac/West Communications across its three locations and over 30 employees. The Book of Standards was designed to be easy to understand and navigate, in order to find the right information quickly and correctly the first time around. This book was also created to help alleviate common issues and help associates expedite the creative process.

With this book we can help influence decisions and create winning results.

Pac/West Orange Solid

Pantone 166CC0 M74 Y100 K0R224 G82 B6E05206

Pac/West Black Solid

Pantone Process Black CC0 M0 Y100 K0R0 G0 B0000000

Pac/West Grey Solid

PantoneCool Gray 7 UPC22 M15 Y11 K32R154 G155 B1569A9B9C

Pac/West White Solid

C0 M0 Y0 K0R255 G255 B255FFFFFF

Pac/West BlueSolid

Pantone 647 UC80 M46 Y11 K8R81 G106 B139516A8B

Pantone647 U

Pantone166 C

PantoneProcess Black C

PantoneCool Gray 7 UP

PantoneWhite

2 3

PRIMARY LOGOTYPEThe first way we signify the presence of Pac/West is with our Primary Logotype. It’s the clearest way we can identify our company visually. We should sign off all our communications with this logotype. The Logotype typeface is created using the font family Futura LT.

Clearspace

In order to preserve the integrity of the Primary Logotype, it is important that no other logos, type or other graphic elements infringe on its space. The minimum clearspace around the logotype is equivalent to the height of the logotype.

Smallest size use

The minimum size the Primary Logotype may be used for print applications is .2” (5mm) tall. Include the forward slash for this measurement.

For digital applications, the minimum size is 25 pixels tall.

Logotype artwork

Do not attempt to redraw or recreate any element of the logotype. Use the approved digital files of the artwork.

X

XX

Primary Blue Logotype

Primary Black Logotype

Primary White Logotype

Clearspace

Minimum size

Minimum print size .2 inch (5mm) tall.Minimum digital size 25 pixels tall.

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LOGOTYPE DON’TSTo make sure our logotype appears as consistently as possible throughout our communications, we’ve identified a few ways we do not want our logotype to appear.

DO NOT:

Don’t separate the text from the slash. They should always be treated as a whole.

Only use specified colors to represent the logotype.

Avoid stylizing the logotype with outlines, glows or any other techniques.

Don’t skew, rotate or stretch the logotype.

Don’t use our logo against a similar background. For example if you want to use a blue background, use the white logotype instead.

Separate Text

Use Other Colors

Use With Similar Background

Stylize With Effects

Change or Modify Shape

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TYPOGRAPHYPRIMARY BODY FONT:TIMES NEW ROMAN

DESIGNER:VICTOR LARDENT

THE FONTCommissioned after Stanley Morison had written an article criticizing The Times for being badly printed and typographically antiquated. The font was supervised by Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface named Plantin as the basis for his design, but made revisions for legibility and economy of space. Morison’s revision became known as Times New Roman and made its debut in the Oct. 3, 1932, issue of The Times newspaper.

Although no longer used by The Times, Times New Roman is still frequent in book typography, particularly in mass-market paperbacks in the United States. Especially because of its adoption in Microsoft products, it has become one of the most widely used typefaces in history.

TYPOGRAPHYPRIMARY HEADER FONT:HELVETICA NEUE

DESIGNER:MAX MIEDINGER

THE FONTNeue Helvetica is a reworking of the typeface with a more structurally unified set of heights and widths. It was developed at D. Stempel AG, Linotype’s daughter company. The studio manager was Wolfgang Schimpf, and his assistant was Reinhard Haus; the manager of the project was René Kerfante. Erik Spiekermann was the design consultant and designed the literature for the launch in 1983. Other changes include improved legibility, heavier punctuation marks and increased spacing in the numbers.

Neue Helvetica uses a numerical design classification scheme, like Univers. The font family is made up of 51 fonts, which includes nine weights in three widths, and an outline font based on Helvetica 75 Bold Outline.

A B C D E F G H I J K L MN O P Q R S T U V W X Y Za b c d e f g h i j k l mn o p q r s t u v w x y z

A B C D E F G H I J K L MN O P Q R S T U V W X Y Za b c d e f g h i j k l mn o p q r s t u v w x y z

0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9

! @ # $ % ^ & * ( ) _ + =[ ] { } \ | ; : ’ ” < > ,. / ? © ¥ £ ¢ ® ¶ π µ

! @ # $ % ^ & * ( ) _ + =[ ] { } \ | ; : ’ ” < > ,. / ? © ¥ £ ¢ ® ¶ π µ

A B C D E F G H I J K L MN O P Q R S T U V W X Y Za b c d e f g h i j k l mn o p q r s t u v w x y z

A B C D E F G H I J K L MN O P Q R S T U V W X Y Za b c d e f g h i j k l mn o p q r s t u v w x y z

Times New Roman Helvetica NeueBold Bold

Regular Regular

Numbers Numbers

SpecialCharacters

SpecialCharacters

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TYPOGRAPHYALTERNATIVE FONT:NEUTRAFACE FAMILY

DESIGNER:CHRISTIAN SCHWARTZ

THE FONTNeutraface was designed by Christian Schwartz over the period of a year with assistance in art direction from Ken Barber and Andy Cruz. It was the result of a project started by Schwartz to design “the most typographically complete geometric sans serif family ever,” based on Richard Neutra’s principles of architecture and design. The Neutraface alphabet was developed through consultation with Neutra’s son and former partner, Dion Neutra, and with reference to the signs on the buildings designed by Neutra.

TYPOGRAPHYALTERNATIVE FONT:GOTHAM

DESIGNER:TOBIAS FRERE-JONES

THE FONTGotham was born in 2000, when men’s fashion magazine GQ commissioned New York-based Hoefler & Frere-Jones to create a new typeface for use in their publication. Provided with a brief to create something “masculine, new and fresh,” type designer Tobias Frere-Jones drew influences from post-war building signage and hand-painted letters seen around New York City. Using the seemingly plain, geometric lettering from New York’s Port Authority Bus Terminal as the project’s touchstone, an American “working class” typeface was born.

As put by Newsweek, “Unlike other sans serif typefaces, it’s not German, it’s not French, it’s not Swiss. It’s very American.”

A B C D E F G H I J K L MN O P Q R S T U V W X Y Za b c d e f g h i j k l mn o p q r s t u v w x y z

A B C D E F G H I J K L MN O P Q R S T U V W X Y Za b c d e f g h i j k l mn o p q r s t u v w x y z

0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9

! @ # $ % ^ & * ( ) _ + =[ ] { } \ | ; : ’ ” < > ,. / ? © ¥ £ ¢ ® ¶ π µ

! @ # $ % ^ & * ( ) _ + =[ ] { } \ | ; : ’ ” < > ,. / ? © ¥ £ ¢ ® ¶ π µ

A B C D E F G H I J K L MN O P Q R S T U V W X Y Za b c d e f g h i j k l mn o p q r s t u v w x y z

A B C D E F G H I J K L MN O P Q R S T U V W X Y Za b c d e f g h i j k l mn o p q r s t u v w x y z

Neutraface GothamText -Book

Slab -Book

Bold

Regular

Numbers Numbers

SpecialCharacters

SpecialCharacters

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OUR BRANDPROJECT PROPOSAL COVER PAGEAn effective proposal will explain exactly what you want to do, how you plan to do it and the expected result/turnaround time of the project. The cover page should never be altered in color or design, only in edit.

OUR BRANDPROJECT PROPOSAL BODY PAGEPlace this image at the top of every inside page of your project proposal, and add page numbers at the bottom (centered or right-justified).

8.5 Inches 8.5 Inches

11 Inch

es

11 Inch

es

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OUR BRANDPROJECT PROPOSAL COVER PAGEAn effective proposal will explain exactly what you want to do, how you plan to do it and the expected result/turnaround time of the project. The cover page should never be altered in color or design, only in edit.

8.5 Inches

8.5 Inches

11 Inch

es

11 Inch

es

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OUR BRANDBUSINESS CARDSBusiness cards put a face to our business. When meeting someone new, handing them your business card will help keep Pac/West in the back of their mind.

OUR BRANDLETTERHEADThe letterhead reinforces our brand, in that it represents Pac/West and can impart a first impression to our potential clients. The letterhead is only used for official matters, and usually includes a signature. It is also used mostly for one-page documents.

Paul V. PhillipsPresident

8600 S.W. St. Helens Drive, Wilsonville, Oregon 97070www.pacwestcom.com

phone (503) 685-9400fax (503) 685-9405cell (503) 720-1260

phillips@pacwestcom.com

3.5 Inches

2 In

ch

es

8600 SW St. Helens Dr., Suite 100Wilsonville, OR 97070

503.685.9400fax: 503.685.9405

pacwestcom.com Influencing Desisions & Creating Winning Results

8.5 Inches

11 Inch

es

16 17

OUR BRANDBRAND PRESENTATION TEMPLATEDesign and style for presentating logo and brand assets to clients.

Title Card(Neutraface Slab Display)

Concept Card (Neutraface Slab Display)

Body Font: (Gotham Book)

Ugitae molupis imilibus ilique consequ amenim hilitias nis ma volore, voluptatus

sum aribus, corereperum aut a nihilia noste saero coreicim harum quis

moluptaque eos ex eatemqu iatiatia endicium rest, qui od ex es nonessenia

vitat qui reictem expliate iuntiur?

Ullaccum sed et quia si omnihil mo dolorpori dolo ium quaecep tatempo rporro

con nis exerum invende pla asi rehentotat.

Cupta soles si receritis et laboreiur, corro comnihilles excearit im quam con

porum as doluptaturio volorempor saeptatur, ipsunt officit et volectio. Et

explabo. Pere doloria sinctectia nis audipite porepre perspienti tem quis

maiosant, sus, voloressit rest, ex et quat estis ab iliquiae seque prae. Nam

volorepe dolupidus, qui omnimus.

Et ent, nonectenda quia doluptat asimagnist fuga. Et quam aut et ration

nonseque maxim quos et volor molupta tionserio tem aut ut que et quis non

natem il ma as con cus.

TVFR Campaign Concepts

March 2, 2016

Page No.

5PROJECT

DATE

CLIENT

PREPARED BY

Tualatin Valley Fire & Rescue

Pac/West

NOTE: This is a note section.

Two upAd Example with Note section

DESIGNED AND CREATED BY:

PAC/WEST COMMUNICATIONS

8600 SW ST. HELENS DRIVE, WILSONVILLE, OR 97070

503-685-9400

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OUR STANDARDSSIZE STANDARDSThe following standards are the default lengths the Pac/West creative team use unless otherwise specified. Note: The height is always listed first.

Tabloid - 11” x 17”

Letter - 8.5” x 11”

17 Inches

11 Inches

11 Inch

es

8.5

Inch

es

OUR BRANDEMAIL SIGNATURESA uniform email signature communicates a higher level of legitimacy and professionalism to anyone who receives it and provides instant brand recognition for Pac/West. Always use it when sending external emails; internal emails can be less formal.

PAUL PHILLIPS

President & Co­Owner

8600 SW St. Helens Drive | Wilsonville, OR 97070

Phone: 503­685­9400 | pacwestcom.com

Email: phillips@pacwestcom.com

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BASECAMPHOW TO USE BASECAMP CORRECTLYBasecamp is required for all Pac/West employees when requesting creative projects.The following steps will help you use Basecamp correctly.

The Click the “New Project” button: It’s located on the left side of your projects screen. Only people given permission to create a project will see the “New Project” button.

Name it! Give the project a name, and add your team. Start typing the names of the folks you’ll be working with and it will automatically fill in.

1

2

Super Card - 6” x 12”

Card - 5” x 7”

Card - 4” x 6”

12 Inches

7 Inches

6 Inches

6 In

ch

es

5 In

ch

es

4 In

ch

es

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Start a discussion: Fill everyone involved in on project details and get the project started. Here you can upload all files associated with the project simply by dragging them onto the screen.

4Now you’re ready to work! Time to add a discussion. This is where you will add all details of the project.

3

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Finalize: From here, the Creative Team will review the project request and begin designing. If there are questions or additional details, you can start a new discussion or leave a comment on the original one.

Add an Event: Don’t forget to add a due date. To do so, create an event within your project discussion or go to the calendar tab at the top of the page. Include the title of the event (i.e. “Draft Due,” “Final due to client,” or “Send to Print”) as well as the time it’s due. It’s also important to set a reminder email for all people on the project a day or two before it’s due.

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Graphic Interchange Format — A lossless indexed file format for raster images. It is best used for images with limited colors and defined edges. Can be animated.

WEB FILES — Viewable within a web browser

A style sheet language used for describing the look and formatting of a document written in a markup language.

Portable network graphics — A lossless raster graphic file format. Designed for displaying images online. Supports alpha channel (transparency).

Joint photographic experts group — Lossy file format. Used mostly for photo-type images. Numerous compression levels and options available.

Scalable vector graphics — A vector graphic format intended originally for web use. SVG’s utilize XML to display information.

HyperText Markup Language — Used to tag the elements of a hypertext document. The standard protocol for displaying documents on the World Wide Web.

GIF

CSS

PNG

JPEG

SVG

HTML

A proprietary file that allows the user to work with the images’ individual layers even after the file has been saved.

WORKING FILES — Requires design software

A variety of non-standard graphics file formats.

Adobe Illustrator’s proprietary file format closely related to, but not the same as, EPS.

A file extension for a page layout file used by Adobe InDesign, can also be opened using Adobe InCopy.

Tagged image file format — Prepress file format for raster data like photos etc.

Encapsulated PostScript — A vector based graphic format which includes a stand-alone PostScript File and a low resolution preview.

Portable document format — An open standard graphics format used to present documents accurately independent of user software or hardware.

PSD

RAW

AI

INDD

TIFF

EPS

PDF

FILE TYPESDIFFERENT FILE TYPES AND FORMATSDefinitions of formats you might encounter while working with creative.