logomanuál literární akademie 20 09

logomanuál literární akademie
2009
2009
obsah
logomanuál literární akademie
1.01. logo instituce, základní barevná provedení
1.02. monochromní barevné provedení
1.03. rozměrové řady základního provedení
1.04. speciální varianty
1.05. rozměrové řady speciálních variant
1.06. černobílé pozitivní provedení
1.07. inverzní barevné a černobílé provedení
1.08. ochranná zóna základního provedení
1.09. užití loga na podkladových plochách
1.10. příklady zakázaných provedení
2.01. základní písmo pro merkantilní materiály
2.02. základní písmo pro merkantilní materiály, příklady sazby
2.03. doplňkové písmo pro merkantilní materiály
2.04. doplňkové písmo pro merkantilní materiály, příklady sazby
3.01. definice základních a doplňkových barev
3.02. vzorníky barev
Literární akademie
logomanuál literární akademie
Literární akademie
2009
1.01. logo instituce, základní barevná provedení
Literární akademie
logomanuál literární akademie
Literární akademie
2009
1.02. monochromní barevné provedení
2009
1.03. rozměrové řady základního provedení
100%
Literární akademie
75%
Literární akademie
25%
logomanuál literární akademie
50%
Na Pankráci 54–140 00
Praha 4–Nusle
email [email protected]
http: //www.lit-akad.cz
S O U K R O M Á V YS O K Á Š K O L A J O S E FA Š K V O R E C K É H O
Literární akademie
logomanuál literární akademie
Literární akademie
S O U K R O M Á V YS O K Á Š K O L A J O S E FA Š K V O R E C K É H O
2009
1.04. speciální varianty
Literární akademie
Na Pankráci 54–140 00
Praha 4–Nusle
email [email protected]
http: //www.lit-akad.cz
S O U K R O M Á V YS O K Á Š K O L A J O S E FA Š K V O R E C K É H O
Literární akademie
logomanuál literární akademie
100%
S O U K R O M Á V YS O K Á Š K O L A J O S E FA Š K V O R E C K É H O
2009
1.05. rozměrové řady speciálních variant
50%
2009
logomanuál literární akademie
1.06. černobílé pozitivní provedení
2009
logomanuál literární akademie
1.07. inverzní barevné a černobílé provedení
2009
1.08. ochranná zóna základního provedení
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2009
logomanuál literární akademie
1.09. užití loga na podkladových plochách
2009
logomanuál literární akademie
1.10. příklady zakázaných provedení
2009
2.01. základní písmo pro merkantilní materiály
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Berthold Akzidenz Grotesk BE CE light
Berthold Akzidenz Grotesk BE CE regular
Berthold Akzidenz Grotesk BE CE medium
logomanuál literární akademie
Berthold Akzidenz Grotesk BE CE bold
2009
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 1960. 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 1960. 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.
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 1960. 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.
logomanuál literární akademie
Berthold Akzidenz Grotesk BE CE light velikosti 9/12
optimální šířka sloupce 100mm
2009
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 1960. 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 AccidenzGrotesk. 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 1960. Miedinger sought to
refine the typeface making it more even and unified. Two other releases
Akzidenz-Grotesk is a realist sans-serif typeface originally released
by the H. Berthold AG type foundry in 1896 under the title AccidenzGrotesk. 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 1960. Miedinger sought to
logomanuál literární akademie
Berthold Akzidenz Grotesk BE CE light velikosti 14/18
optimální šířka sloupce 150mm
2009
2.03. doplňkové písmo pro merkantilní materiály
RePublic Book Regular
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AaBbCcDd
AaBbCcDd
AaBbCcDd
RePublic Book Bold
RePublic Text Regular
logomanuál literární akademie
RePublic Text Bold
2009
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.
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.
logomanuál literární akademie
RePublic Book Regulart velikosti 9/12
optimální šířka sloupce 100mm
2009
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
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
logomanuál literární akademie
RePublic Book Regular velikosti 14/18
optimální šířka sloupce 150mm
2009
3.01. definice základních a doplňkových barev (A)
LA
logomanuál literární akademie
Pantone Red 032 C
2009
3.02. definice základních a doplňkových barev (B)
LA
logomanuál literární akademie
Pantone Blue 072CV
LA
LA
LA
LA
LA
LA
LA
Pantone Red 032 C
Pantone Red 032 C
Pantone Red 032 C
Pantone Blue 072CV
Pantone Blue 072CV
Pantone Red 032 C
Pantone Blue 072CV
LA
LA
LA
LA
LA
LA
LA
Pantone Red 032 C
Pantone Red 032 C
Pantone Red 032 C
Pantone Red 032 C
Pantone Red 032 C
Pantone Blue 072CV
Pantone Blue 072CV
LA
LA
LA
LA
LA
LA
LA
Pantone Red 032 C
Pantone Red 032 C
Pantone Red 032 C
Pantone Blue 072CV
Pantone Blue 072CV
Pantone Blue 072CV
Pantone Blue 072CV
LA
LA
LA
LA
LA
LA
LA
Pantone Red 032 C
Pantone Red 032 C
Pantone Red 032 C
Pantone Red 032 C
Pantone Red 032 C
Pantone Blue 072CV
Pantone Blue 072CV
LA
LA
LA
LA
LA
LA
LA
Pantone Red 032 C
Pantone Red 032 C
Pantone Red 032 C
Pantone Blue 072CV
Pantone Blue 072CV
Pantone Blue 072CV
Pantone Blue 072CV
logomanuál literární akademie
2009
3.02. vzorníky barev