1. Editorial Projects, Visual IdentitiesTwo Pointswww.inside-training.it

2. TwoPoints.Net Barcelona, Berlin 3. Brand LogoDesign Systems,Not Logos 4. A B CD E F G H I JK L N O P Q RS T U V WX Y ZIMB ATABCDEFGABCDEFGHIJKLMNOPQRSTUVWXYZABCDEFGHIJKLMNOPQRSABCDEFGHIJKLMNOPQRSTUVWABCDEFGHIJKLMNFWX 5. StructuralValueHelsinkiDesign Lab 6. = same size. marks the area that can be re-sized. 7. PantonePantone 485 / C0M100Y100K0 / # ff0000Pantone 170 / C0M50Y48K0 / # ff8b7cPantone 429 / C21M11Y9K23 / # a5acafPantone Neon ColorsPantone 811 / C0M55Y90K0 / # ee8a27Pantone 806 / C0M80Y0K0 / # e75294Pantone 3395 / C66M0Y46K0 / # 00c78bPantone 3125 / C85M0Y18K0 / # 00b0caPantone Metallic ColorsPantone 871 / C20M25Y60K25 / # ae9962Pantone 877 / C0M0Y0K30 / # c6c7c8Pantone Black / C0M0Y0K100 / # 000000 8. DownloadFor Free Atwww.helsinkidesignlab.org 9. VisualVocabularySocialFrontiers 10. Visual Identity Social Frontiersby NestaSlide3TwoPoints.NetBarcelona, BerlinVisual ConceptWe based our visual concept on theidea of mapping. We did not wantto get too close to real geographicmapping because this is not whatthe event is about.Instead we tried to stay as abstractas possible, so the visual identitysuggests mapping and frontiers,but it doesnt make you think justof a geographic map. We need tokeep that balance.A contemporary visual identityisnt a pictogramme or a logowhich explains what an event,company or institution is about,a contemporary visual identitycreates a visual vocabulary that isable to adapt to the needs of visualcommunication.The visual concept of the visualidentity should be strong enoughto make each and every applicationa recognizable part of the wholevisual identitiy without losing itsfl exibility.Visual Identity Social Frontiersby NestaSlide4TwoPoints.NetBarcelona, BerlinVisual SystemA visual system controls how thevisual identity responds to differentformats and media without losingits recognizability.The first step to create the SF visu-alidentitiy is to divide a square in9 columns and 9 rows. Each mod-uleis crossed by a diagonal line.If the format is different, longeror wider, modules will be added.The shortest side of a format willalways be 9 modules high or wide.When applied on a paper or screenthe grid is surrounded by a protec-tionframe of a half module.Visual Identity Social Frontiersby NestaSlide5TwoPoints.NetBarcelona, BerlinCrosssections can move their posi-tionand distort the grid. A land-scapestarts to appear.Visual Identity Social Frontiersby NestaSlide6TwoPoints.NetBarcelona, BerlinWhen we start now to removepieces of the grid we create islandswhich are seperated by frontiers.The islands can be filled by text orimages. 11. Visual Identity Social Frontiersby NestaSlide7TwoPoints.NetBarcelona, BerlinPatternsAs in maps which distinguish inbetween one class of informationto another class of information weare using patterns.Visual Identity Social Frontiersby NestaSlide8TwoPoints.NetBarcelona, BerlinTypographyWe chose the typeface Times LTStd, because of its high legibilityin print and on screen and its fre-quentuse in the academic field.Times Lt StdThis particular version of Timesis very sophisticated and far morebeautiful than the Times found onthe systems of Pc and Mac.In 1931, The Times of London commissioned anew text type design from Stanley Morison and theMonotype Corporation, after Morison had writ-tenan article criticizing The Times for being badlyprinted and typographically behind the times. Thenew design was supervised by Stanley Morison anddrawn by Victor Lardent, an artist from the advertis-ingdepartment of The Times. Morison used an oldertypeface, Plantin, as the basis for his design, butmade revisions for legibility and economy of space(always important concerns for newspapers). Asthe old type used by the newspaper had been calledTimes Old Roman, Morisons revision becameTimes New Roman. The Times of London debutedthe new typeface in October 1932, and after one yearthe design was released for commercial sale. TheLinotype version, called simply Times, was opti-mizedfor line-casting technology, though the differ-encesin the basic design are subtle. The typeface wasvery successful for the Times of London, which useda higher grade of newsprint than most newspapers.The better, whiter paper enhanced the new typefaceshigh degree of contrast and sharp serifs, and createda sparkling, modern look. In 1972, Walter Tracy de-Times Lt StdTHe quICk BRoWn Fox jumPS oveR A LAzy DoG.The quick brown fox jumps over a lazy dog.Aa Bb Cc Dd ee Ff Gg Hh Ii jj kk Ll mm nn oo Pp qq Rr Ss Tt uu vv Wwxx yy zz 0123456789 @ ! # $ % & ( ) * +, . : ; % / < = > [ ] ^ _ { | } ~ Visual Identity Social Frontiersby NestaSlide9TwoPoints.NetBarcelona, BerlinColorColor is one of the most impor-tantelements of a visual identitybecause it helps to recognize thebrand.Nevertheless we think it is impor-tantto keep a lot of white space.It helps to look less commercialand more academic.The colors we chose are: 12. CommunicationToolsMITLecture Series 13. TwoPoints.Net Barcelona, BerlinFlexible Visual IdentityMIT Lecture Series 2013Page2Line 1 Circle 1Line 2Line 3How the system works. 14. TwoPoints.Net Barcelona, BerlinFlexible Visual IdentityMIT Lecture Series 2013Page3Typeface.Elements of the typeface.Substituting the elementsof the typeface with vectorelements.Substituting the elements ofthe typeface with pictures.In this case a building byTrey Trahan. 15. Lectures are free and open to the public. Forsome lectures, members of the MIT communitywith IDs will be admitted 45 minutes earlyand the general public will be admitted asspace permits 10 minutes early. For moreinformation, contact MIT Department ofArchitecture at 617 253 7791 or http://architecture.mit.edu/.AD Architectural DesignHTC History Theory and CriticismBT Building TechnologyACT Art, Culture and TechnologyCOMP Computationinstituting technologymit Architecture lecture seriesspring 2013trey trAhAnPresident and Principal-in-charge,trahan ArchitectsAPril 186:30 pmlong lounge 7-429the inaugural Ahmad tehrani lectureLectures are free and open to the public. Forsome lectures, members of the MIT communitywith IDs will be admitted 45 minutes earlyand the general public will be admitted asspace permits 10 minutes early. For moreinformation, contact MIT Department ofArchitecture at 617 253 7791 or http://architecture.mit.edu/.AD Architectural DesignHTC History Theory and CriticismBT Building TechnologyACT Art, Culture and TechnologyCOMP Computationinstituting technologymit Architecture lecture seriesspring 2013trey trAhAnPresident and Principal-in-charge,trahan ArchitectsAPril 186:30 pmlong lounge 7-429the inaugural Ahmad tehrani lecture 16. Lectures are free and open to the public. Forsome lectures, members of the MIT communitywith IDs will be admitted 45 minutes earlyand the general public will be admitted asspace permits 10 minutes early. For moreinformation, contact MIT Department ofArchitecture at 617 253 7791 or http://architecture.mit.edu/.AD Architectural DesignHTC History Theory and CriticismBT Building TechnologyACT Art, Culture and TechnologyCOMP Computationinstituting technologymit Architecture lecture seriesspring 2013trey trAhAnPresident and Principal-in-charge,trahan ArchitectsAPril 186:30 pmlong lounge 7-429the inaugural Ahmad tehrani lectureLectures are free and open to the public. Forsome lectures, members of the MIT communitywith IDs will be admitted 45 minutes earlyand the general public will be admitted asspace permits 10 minutes early. For moreinformation, contact MIT Department ofArchitecture at 617 253 7791 or http://architecture.mit.edu/.AD Architectural DesignHTC History Theory and CriticismBT Building TechnologyACT Art, Culture and TechnologyCOMP Computationinstituting technologymit Architecture lecture seriesspring 2013trey trAhAnPresident and Principal-in-charge,trahan ArchitectsAPril 186:30 pmlong lounge 7-429the inaugural Ahmad tehrani lecture 17. Tonangeber 18. ContextMattersBacoa 19. Type=SystemNUS