logomanuál literární akademie 2009

Transkript

1

2 obsah logo instituce, základní barevná provedení monochromní barevné provedení rozměrové řady základního provedení speciální varianty rozměrové řady speciálních variant černobílé pozitivní provedení inverzní barevné a černobílé provedení ochranná zóna základního provedení užití loga na podkladových plochách příklady zakázaných provedení základní písmo pro merkantilní materiály základní písmo pro merkantilní materiály, příklady sazby doplňkové písmo pro merkantilní materiály doplňkové písmo pro merkantilní materiály, příklady sazby definice základních a doplňkových barev vzorníky barev

3 1.01. logo instituce, základní barevná provedení Literární akademie Literární akademie

4 1.02. monochromní barevné provedení Literární akademie Literární akademie

5 1.03. rozměrové řady základního provedení 100% 75% 50% 25% Literární akademie Literární akademie

6 1.04. speciální varianty Literární akademie S O U K R O M Á V Y S O K Á Š K O L A J O S E F A Š K V O R E C K É H O Na Pankráci Praha 4 Nusle lit-akad@lit-akad.cz Literární akademie S O U K R O M Á V Y S O K Á Š K O L A J O S E F A Š K V O R E C K É H O

7 1.05. rozměrové řady speciálních variant 100% 50% Literární akademie S O U K R O M Á V Y S O K Á Š K O L A J O S E F A Š K V O R E C K É H O Na Pankráci Praha 4 Nusle lit-akad@lit-akad.cz Literární akademie S O U K R O M Á V Y S O K Á Š K O L A J O S E F A Š K V O R E C K É H O

8 1.06. černobílé pozitivní provedení

9 1.07. inverzní barevné a černobílé provedení

10 1.08. ochranná zóna základního provedení

11 2009 logomanuál literární akademie užití loga na podkladových plochách

12 1.10. příklady zakázaných provedení

13 2.01. základní písmo pro merkantilní materiály Berthold Akzidenz Grotesk BE CE light AaBbCcDd Berthold Akzidenz Grotesk BE CE regular AaBbCcDd Berthold Akzidenz Grotesk BE CE medium AaBbCcDd Berthold Akzidenz Grotesk BE CE bold AaBbCcDd

14 2.02. základní písmo pro merkantilní materiály, příklady sazby Berthold Akzidenz Grotesk BE CE light velikosti 6/9 optimální šířka sloupce 70 mm Akzidenz-Grotesk is a realist sans-serif typeface originally released by the H. Berthold AG type foundry in 1896 under the title Accidenz-Grotesk. It was the first sans serif typeface to be widely used and influenced many later neo-grotesque typefaces. Max Miedinger at the Haas Foundry used it as a model for the typeface Neue Haas Grotesk released in 1957, and renamed Helvetica in Miedinger sought to refine the typeface making it more even and unified. Two other releases from 1957, Adrian Frutiger s Univers and Bauer and Baum s Folio, take inspiration from Akzidenz-Grotesk. Berthold Akzidenz Grotesk BE CE light velikosti 8/11 optimální šířka sloupce 90 mm Akzidenz-Grotesk is a realist sans-serif typeface originally released by the H. Berthold AG type foundry in 1896 under the title Accidenz-Grotesk. It was the first sans serif typeface to be widely used and influenced many later neo-grotesque typefaces. Max Miedinger at the Haas Foundry used it as a model for the typeface Neue Haas Grotesk released in 1957, and renamed Helvetica in Miedinger sought to refine the typeface making it more even and unified. Two other releases from 1957, Adrian Frutiger s Univers and Bauer and Baum s Folio, take inspiration from Akzidenz-Grotesk. Berthold Akzidenz Grotesk BE CE light velikosti 9/12 optimální šířka sloupce 100mm Akzidenz-Grotesk is a realist sans-serif typeface originally released by the H. Berthold AG type foundry in 1896 under the title Accidenz-Grotesk. It was the first sans serif typeface to be widely used and influenced many later neo-grotesque typefaces. Max Miedinger at the Haas Foundry used it as a model for the typeface Neue Haas Grotesk released in 1957, and renamed Helvetica in Miedinger sought to refine the typeface making it more even and unified. Two other releases from 1957, Adrian Frutiger s Univers and Bauer and Baum s Folio, take inspiration from Akzidenz-Grotesk.

15 2.02. základní písmo pro merkantilní materiály, příklady sazby Berthold Akzidenz Grotesk BE CE light velikosti 10/14 optimální šířka sloupce 110 mm Akzidenz-Grotesk is a realist sans-serif typeface originally released by the H. Berthold AG type foundry in 1896 under the title Accidenz-Grotesk. It was the first sans serif typeface to be widely used and influenced many later neo-grotesque typefaces. Max Miedinger at the Haas Foundry used it as a model for the typeface Neue Haas Grotesk released in 1957, and renamed Helvetica in Miedinger sought to refine the typeface making it more even and unified. Two other releases from 1957, Adrian Frutiger s Univers and Bauer and Baum s Folio, take inspiration from Berthold Akzidenz Grotesk BE CE light velikosti 12/16 optimální šířka sloupce 130 mm Akzidenz-Grotesk is a realist sans-serif typeface originally released by the H. Berthold AG type foundry in 1896 under the title Accidenz- Grotesk. It was the first sans serif typeface to be widely used and influenced many later neo-grotesque typefaces. Max Miedinger at the Haas Foundry used it as a model for the typeface Neue Haas Grotesk released in 1957, and renamed Helvetica in Miedinger sought to refine the typeface making it more even and unified. Two other releases Berthold Akzidenz Grotesk BE CE light velikosti 14/18 optimální šířka sloupce 150mm Akzidenz-Grotesk is a realist sans-serif typeface originally released by the H. Berthold AG type foundry in 1896 under the title Accidenz- Grotesk. It was the first sans serif typeface to be widely used and influenced many later neo-grotesque typefaces. Max Miedinger at the Haas Foundry used it as a model for the typeface Neue Haas Grotesk released in 1957, and renamed Helvetica in Miedinger sought to

16 2.03. doplňkové písmo pro merkantilní materiály RePublic Book Regular AaBbCcDd RePublic Book Bold AaBbCcDd RePublic Text Regular AaBbCcDd RePublic Text Bold AaBbCcDd

17 2.04. doplňkové písmo pro merkantilní materiály, příklady sazby RePublic Book Regular velikosti 6/9 optimální šířka sloupce 70 mm In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for typesetting books. RePublic Book Regular velikosti 8/11 optimální šířka sloupce 90 mm In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for typesetting books. RePublic Book Regulart velikosti 9/12 optimální šířka sloupce 100mm In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and far more constrained than the ones applied to regular typefaces designed for typesetting books.

18 2.04. doplňkové písmo pro merkantilní materiály, příklady sazby RePublic Book Regularvelikosti 10/14 optimální šířka sloupce 110 mm In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type abroad. The conditions to be met by the typeface were strictly defined, and RePublic Book Regular velikosti 12/16 optimální šířka sloupce 130 mm In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial resources being too scarce to permit the purchase of type RePublic Book Regular velikosti 14/18 optimální šířka sloupce 150mm In 1955 the Czech State Department of Culture, which was then in charge of all the publishing houses, organised a competition amongst printing houses and generally all book businesses for the design a newspaper typeface. The motivation for this contest was obvious: the situation in the printing presses was appalling, with very little quality fonts existing and financial

19 3.01. definice základních a doplňkových barev (A)

20 3.02. definice základních a doplňkových barev (B)

21 3.02. vzorníky barev 2009 logomanuál literární akademie