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Brand Standards Professional Version

This brand identity system is designed to drive reconsideration of the American Red Cross as a world-class 21st-century brand. With your help, we will steward and protect an unmistakable visual identity that unites our organizations many activities.

January 2012

Contents

This guide contains tools, inspiration and examples to help you implement the identity system.

This version of the guidelines was released January 3, 2012. Please refer to Brand Central for updates and to make sure your copy is up to date. 4

Contents. . . . . . . . . . . . . . . . . . . . . . . . . 4 Mission. . . . . . . . . . . . . . . . . . . . . . . . . . 7 Principles. . . . . . . . . . . . . . . . . . . . . . . . 8 Essence. . . . . . . . . . . . . . . . . . . . . . . . 11 Our brand. . . . . . . . . . . . . . . . . . . . . . . 12 Brand attributes. . . . . . . . . . . . . . . . . . 14 Look and feel. . . . . . . . . . . . . . . . . . . . 16 Tone of voice . . . . . . . . . . . . . . . . . . . . 18 Brand elements. . . . . . . . . . . . . . . . 20 Logo suite overview. . . . . . . . . . . . . . . 22 Button logo. . . . . . . . . . . . . . . . . . . . . . 24 Classic logo. . . . . . . . . . . . . . . . . . . . . 26 Wordmark. . . . . . . . . . . . . . . . . . . . . . . 28 Internal spacing and clear space. . . . 29 Spanish logo suite. . . . . . . . . . . . . . . . 30 Sizing . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Separating the button from the wordmark . . . . . . . . . . . . . . . . . . . . . 33

Logo elements dos and donts. . . . . . 34 Region and chapter lockups. . . . . . . . 36 Locator button on maps. . . . . . . . . . . 37 Sub-branding. . . . . . . . . . . . . . . . . . . . 38 Major gift program levels. . . . . . . . . . . 39 Campaign, co-branding and sponsorship considerations . . . . . . 40 Color proportion . . . . . . . . . . . . . . . . . 42 Color usage. . . . . . . . . . . . . . . . . . . . . 43 Color breakdowns. . . . . . . . . . . . . . . . 44 Secondary color palette inspiration. . 45 Color usage examples. . . . . . . . . . . . . 46 Typography. . . . . . . . . . . . . . . . . . . . . . 48 Typography examples . . . . . . . . . . . . . 50 Handwriting. . . . . . . . . . . . . . . . . . . . . 52 Blood Services tagline . . . . . . . . . . . . 54 Card graphic . . . . . . . . . . . . . . . . . . . . 56 Photography overview . . . . . . . . . . . . 58 5

Photography considerations. . . . . . . . 59 Moments photography . . . . . . . . . . . . 60 Portrait photography Participants. . 61 Portrait photography Supporters. . 62 Creating supporter portraits. . . . . . . . 63 Objects photography Found. . . . . . 64 Objects photography Iconic. . . . . . 65 Photo implementation styles. . . . . . . . 66 Using photo borders on images. . . . . 67 Photography dos and donts . . . . . . . 68 Cross pattern. . . . . . . . . . . . . . . . . . . . 70 Activations . . . . . . . . . . . . . . . . . . . . 72 Resources. . . . . . . . . . . . . . . . . . . . . 94 Co-branding guidelines . . . . . . . . . . . 95 Trademarks. . . . . . . . . . . . . . . . . . . . . . 96

January 2012

Mission

The Mission Statement for the American Red Cross was recently updated by the Board of Governors and will be shared with the organization in early 2012.

January 2012

Principles

Humanity, Impartiality, Neutrality, Independence, Voluntary Service, Unity and Universality.

In all of our work, we are guided by the seven fundamental principles of the International Red Cross Movement.
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January 2012

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Essence

Sleeves up. Hearts open. All in.


The pin on this young boy, similar to those worn by millions of Americans in the early part of the 20th century, was the inspiration for the new logo treatment youll see in this guide.
Sleeves up. We are relentless in our pursuit of making a difference. Whatever is needed, wherever its needed, we roll up our sleeves, and keep them up, until the job is done. Hearts open. We are unconditional in our giving. No matter who you are. No matter what happened. No matter when it happened. If theres a need, the Red Cross is there. Our brand essence is for internal use only, to remind and guide us as we work. It is not a tagline and it is not for external use.

All in. We run into the worst places, at the worst times. We jump in and get to work. We stay until the job is done. We wont ever give up. When there is a need, we are all in, as individuals and as a team. January 2012

Artist: Emmet Oldson

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Our brand

The pin is a symbol of enthusiastic participation. It is a personal, grassroots and unique expression for the American Red Cross.

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January 2012

Brand attributes

Our brand is:

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Authentic Straightforward Engaging Confident Visionary

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January 2012

Look and feel

Open, clear, purposeful, white with a touch of red.

Greater Lehigh Valley Chapter 2200 Avenue A Bethlehem, PA 18017-2118

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January 2012

Tone of voice

The words and language we use must reinforce the look and feel of the brand. And our tone of voice must remain consistent through all messages and mediawhether it is in advertising, direct mail or in person. Below are four words to help guide us as we write and speak.
Uplifting. The work we create will often be highly emotional, but never with a focus on the devastation, destruction or disaster. We want to leave people with a feeling of hope and possibility. We want them to feel that they can make a difference through the American Red Cross. Empowering. We are a brand that relies on peopleboth the people we help and those who embody the Red Cross and deliver on our mission. We want everyone to feel empowered to be a part of this network, to help us make a difference in times of need. Inviting. We are open and accessible to anyone and everyone who wants to assist us in our mission. We are not intimidating or directive.

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How we talk is as important as what we talk about.

Personal. Our care is seless, not self-serving. We treat every person we help and everyone who helps us as an individual. We want them to feel care and compassion every time we interact with them. We are not yelling our message from the rooftops. We treat every individual with respect. 19 January 2012

Brand elements

These are the tools you will need to create and build the American Red Cross brand.

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Logo suite Color palette Typography Imagery

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January 2012

Logo suite overview

There are three American Red Cross logo families. Each has its own distinct purpose. The following pages detail each.

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Button logo family

The button logo was born from this image. This is the preferred logo version. Marketing oriented. Not for use in disaster situations.

Classic logo family

Wordmark family

For use in disaster situations, as well as times when a marketing-oriented button logo is not appropriate. Can also be used in marketing pieces. 23 January 2012

Button logo

Horizontal stacked

Use this logo in any of its three forms for most printed marketing and communications materials as well as television, Web and email.
The button logo is available in the three congurations seen here, with versions created for print or digital use. Obtain les from Brand Central.

Examples of use Marketing materials Advertising Digital Television

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Horizontal

Vertical

RESTRICTED USE ONLY For use when limited colors are available or when printing techniques are more basic, such as pad printing, embroidery and silk-screen. Use only with permission from brandcentral@usa.redcross.org. 25 January 2012

Classic logo

Horizontal stacked

Use this logo in any of its three forms primarily in corporate materials or with restricted printing methods such as silk-screening and vinyls.
The classic logo is available in the three congurations seen here, with versions created for print or digital use. Obtain les from Brand Central.

Examples of use Legal documents Disaster communications Long-life iconic items Apparel Objects (mugs, umbrellas, etc.) Signage and large-format use Lower-quality printing situations

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Horizontal

Vertical

RESTRICTED USE ONLY One-color versions of all three formats are available in red, black and white, as seen here.

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January 2012

Wordmark

Vertical

Horizontal

Use the wordmark on its own when a button logo or classic logo appears in isolation elsewhere in a layout, or when repetition of the full logo lockup would be distracting.
The wordmark is available in the two congurations seen here, with versions created for print or digital use. Obtain les from Brand Central. RESTRICTED USE ONLY One-color versions of both formats are available in red, black and white, as seen here.

Example of use When cross or button is present

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Internal spacing and clear space


2x 2x

2x x

2x x

Sizing and spacing of elements within the logos have been developed based on the size of the crosss arms.
Internal spacing For the button logo, there is 2x space between the cross and the wordmark, to accommodate the button graphic. For the classic logo, the spacing is 1x. Clear space The clear space around all logo versions is 2x, measured from the outermost edge of the logo. No other design elements (photos, type, etc.) should ever invade the clear space. 29

The Red Cross logos may be reduced or enlarged, but dont alter their heightto-width ratio. Do not attempt to remake them with your own image manipulation or desktop publishing applications. Use the graphics provided on Brand Central.
January 2012

Spanish logo suite

Horizontal stacked

Horizontal

Vertical

These are the only non-English versions of the American Red Cross logos allowed. All of the same space and usage requirements apply.
The logos are available in the congurations seen here, with versions created for print or digital use. Obtain les from Brand Central. 30

Many Red Cross ofces use the English version of the logo on their Spanishlanguage materials, and this practice is encouraged.

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January 2012

Sizing

The button should always be sized relative to its use: large on a podium, small on a flyer.
For items you can hold in your hand or view on screen, keep the button in the .75 to 2 range. The button can get larger e.g., on a building. Ensure it reads as a rounded button, not as a at disc. Logos minimum sizes For all logo versions (including the wordmark), always make sure the wordmark is at least 0.06 inches (roughly 1.5 mm) tall for printing, and 6 pixels tall for digital situations. Print minimum
.06 inches (~ 1.5 mm)

Digital minimum
6 pixels

.06 inches (~ 1.5 mm)

6 pixels

Button graphic minimum sizes When used on its own, the button graphic should be no smaller than 0.275 inches (roughly 7 mm) tall, not including the drop shadow, for printing, and 26 pixels tall for digital situations.

Print minimum
.275 inches (~7 mm)

Digital minimum
26 pixels

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Separating the button from the wordmark

As long as minimum size requirements are followed, the button can be separated from the wordmark and scaled on its own.

Remember to include the wordmark somewhere in the viewing area.


33 January 2012

Logo elements dos and donts

Avoid almost a lockup To avoid creating an almost lockup, keep any button or cross graphic (including a predominant button worn by someone in a photo) at least an entire additional clear space away from the wordmark. The blue dotted circle to the right indicates the stay-away distance between a button (or cross) graphic and the wordmark.

Th sh

DO keep button and wordmark far enough apart to read separately.

Dont use a button logo lockup AND a button graphic together.

DO switch to reverse logos when legibility becomes a concern.

Avoid multiple buttons To avoid repetition, the wordmark is used alone (not locked up with a button logo when a button graphic is clearly visible in the same field of view). The button graphic must clearly be part of the photographic composition and not appear to be part of a logo lockup.

DO use a wordmark when a button graphic is present in the layout.

Dont put white boxes behind the logo.

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Join us
Dont violate logo clear space. Dont add effects to the logos.

Crisis Intervention: helping people engage their natural coping skills and support systems to reduce stress reactions with both emotional and physical symptoms.

Dont use the cross as a text bullet.

Thanks to you, the shown unprecedented

has

Dont use logos or wordmark in text.

Dont alter the size relationship in a lockup.

Media Department
Dont make custom lockups. Dont place an image in a cross shape.

Dont place the logos over unreadable portions of images.

Dont rotate the button graphic.

Dont crop individual crosses.

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January 2012

Region and chapter lockups

One-line region and chapter lockup

Two-line region and chapter lockup


Serving Orange, Riverside and San Bernardino Counties

Mid-Florida Region

Serving the Bay Area

Greater Chesapeake and Potomac Blood Services Region

San Francisco Chapter

Alignment
X

Serving the Bay Area

1/2 X 80% (4/5) X

Type centers on cross

Serving Orange, Riverside and San Bernardino Counties

Chapter lockups should always use the horizontal button logo with the chapter name in Georgia Regular on one or two lines of type.

Do not attempt to make your own lockup Chapter lockups are available in spot Greater Chesapeake and or lock up the chapter name with anyPotomac color, RGB and CMYK formats. Blood Services Region other logo version.

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Locator button on maps

Washington

Michigan

California

Alabama

The simplied button logo is used as a marker on maps for calling out American Red Cross locations.
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The use of the simplied button logo as a bullet is restricted to this use only.

January 2012

Sub-branding
One-line sub-brand lockup
Brand Central

Two-line sub-brand lockup


Annual Disaster Giving Program

Sub-brand lockup clear space


1x 1x 2x

2x

Brand Central

Type centers vertically on cross

Adjust to accommodate sub-brand name width

The American Red Cross logo is our master brand. All programs, initiatives and events must support the master brand and not establish distinct identities that detract from the Red Cross. Sub-brands are programs and events that need expression, but they should always be subsidiary to the Red Cross brand.

New templates have been created with a live type area for input of sub-brand names. Use either the one-line or twoline sub-brand template, as required. Observe directions above for clear space. Additional clear space direction is found in Internal spacing and clear space, page 29. 38

Please contact the Brand Unit for approval, guidance and resources. Field units should not create or implement any branded systems, programs, initiatives or events.

Major gift program levels

Tiffany Circle

These major gift logo treatments are for exclusive use by the Development department. Do not create your own logo treatment.
39 January 2012

Campaign, co-branding and sponsorship considerations

Co-branding example

Core branding area Note that layout and design decisions follow guidelines.

Co-branding area Note that clear space rules are being followed.

There will be occasions when the core design principles of the visual identity cannot be adhered to, due to either partnership agreements, co-branding situations or even specic campaigns running in support of the brand.

In these cases, it is still necessary to follow the basic rules of the brand to maintain integrity. In the examples, you will see that sometimes fonts, colors or layouts are 40

different, but in all cases, the logo is displayed correctly, with enough space around it, and whenever possible, other elements also follow our visual identity standards and guidelines.

Partnership example

Campaign example

Allowed branding area Note that clear space rules are being followed.

Campaign area

Core brand area Note that clear space rules are being followed.

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January 2012

Color proportion

White, gray and red are the predominant colors of our brand.

Notice the balance of color within these guidelines. Use it as a reference for creating new pieces. 42

Color usage

White Use lots of white space to create a clean and open feeling. Use Backgrounds Photographic borders Negative space

Gray Softer than black, gray informs without being too loud. Use Wordmark Typography

Red Use it sparingly, to call the eye to important information. Overuse it and everything ghts for attention. Use Brand Icon Brand Patterns Emphasis in text e.g., headlines and subheads Emphasis in photography

Red gradient

PMS 485 + 045% Black gradient

Use In typography and objects to create depth and warmth 43

Secondaries Use them very sparingly, to create occasional emphasis and to create differentiation within a series (e.g., in a series of ve manuals use a different secondary color for each). It is not recommended to assign colors to lines of business. Use Emphasis in text January 2012

Color breakdowns
Primary
WHITE CMYK - 0/0/0/0 RGB - 255/255/255 HEX - FFFFFF PMS COOL GRAY 11 CMYK - 0/0/0/70 RGB - 109/110/112 HEX - 6D6E70 RED CROSS RED (PMS 485) CMYK - 0/100/100/0 RGB - 237/27/46 HEX - ED1B2E

Neutral
LIGHT GRAY (COOL GRAY 3) CMYK - 0/0/0/15 RGB - 215/215/216 HEX - D7D7D8 MED. GRAY (COOL GRAY 8) CMYK - 0/0/0/40 RGB - 159/159/163 HEX - 9F9FA3 BLACK CMYK - 0/0/0/100 RGB - 0/0/0 HEX - 000000

Secondary
KHAKI (PMS 4535) CMYK - 0/4/30/11 RGB - 226/215/172 HEX - E2D7AC SAND (PMS 7530) CMYK - 0/8/21/32 RGB - 180/169/150 HEX - B4A996 GOLD (PMS 130) CMYK - 0/30/100/0 RGB - 236/183/49 HEX - ECB731

SAFETY GREEN (PMS 360) CMYK - 58/0/80/0 RGB - 142/192/108 HEX - 8EC06C

FOREST GREEN (PMS 364) CMYK - 65/0/100/42 RGB - 83/123/53 HEX - 537B35

DEEP RED (PMS 7622) CMYK - 0/97/89/45 RGB - 127/24/27 HEX - 7F181B

LIGHT BLUE (PMS 290) CMYK - 25/2/0/0 RGB - 196/223/246 HEX - C4DFF6

SKY BLUE (PMS 542) CMYK - 62/22/0/3 RGB - 86/160/211 HEX - 56A0D3

CLASSIC BLUE (PMS PROC BLUE) CMYK - 100/10/0/10 RGB - 0/145/205 HEX - 0091CD

MIDNIGHT BLUE (PMS 7692) CMYK - 100/45/0/45 RGB - 0/75/121 HEX - 004B79

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Secondary color palette inspiration

Many of the colors in the palette were inspired by Red Cross history.

Khaki

Classic Blue

Midnight Blue

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January 2012

Color usage examples

Although individual pieces may vary, notice that the cumulative effect maintains the overall brand color balance.

Marketing example Lots of white space. Red is used sparingly, for logos, the main headline and in photography, but is still a small portion of the layout. Gray is used for type and card texture. 46
Greater Lehigh Valley Chapter 2200 Avenue A Bethlehem, PA 18017-2118

Series example The cross is big and bold, but the piece still has a lot of white space. Secondary colors are used on the spine and in titles to differentiate pieces within the series. Gray is used for type, and will have a stronger presence on interior pages.

Large, iconic object example The cross is big and bold, but there is still a lot of white space. Gray is used sparingly. 47 January 2012

Typography

The Akzidenz and Georgia font families provide plenty of options for expression. Keep typography simple. Limit the use of all-caps and justified copy. Create focus by reducing the number of sizes and weights.

Special cases, such as marketing campaigns and co-branded events, have their own typographic needs. These font rules apply to core brand pieces. 48

Information
Name and use Akzidenz-Grotesk Standard family is used to clearly and objectively communicate information. Regular or Bold for heads and subheads. Regular for body copy. Bold or Italic for emphasis. Upper- and lowercase or ALL CAPS.

Voice
Georgia Regular family is used for storytelling, expressing opinions and calls to action. Regular for heads, subheads and body copy. Bold or Italic for emphasis.

Weights

Cases

Upper- and lowercase.

Colors

Preferred: Red Cross Gray When necessary: Red Cross Black Use sparingly: Red Cross Red White Secondary colors

Preferred: Red Cross Gray When necessary: Red Cross Black Use sparingly: Red Cross Red White Secondary colors

RESTRICTED DIGITAL USE

When Akzidenz is unavailable in digital situations, it is acceptable to use Arial as a substitute. Do not use Arial for any printed materials. If Akzidenz is needed, download it from Brand Central.

Georgia is a system font and should be available on any Mac or PC.

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January 2012

Typography examples

Georgia Regular Voice: headline Red

Georgia Regular Voice: headline Gray

Georgia Regular Voice: body copy Gray

Handwriting (art) Personal touch Black Akzidenz-Grotesk Information Gray and red

Handwriting (art) Personal touch Black

Georgia Regular Voice Red

While there are always multiple answers to a design problem, information should always have a clear hierarchy. Here are some examples.
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Logo and sub-brand High on the page and prominently displayed, surrounded by white space, the logo is clearly of the utmost importance. Headline Large and red, it quickly draws the eye into the composition. Notice that very little other text is red.

Body copy In Georgia and gray, without a lot of bold or italicized words, it makes reading large amounts of text easier and keeps the visual noise to a minimum.

Subhead Larger than body copy, but still gray, this subhead indicates a new section of copy, but doesnt ght with the headline for attention.

Pull-quote A well-chosen pull-quote can create an emotional connection with the reader, and break up large blocks of copy. Notice it does not supersede the headline in importance. Directional information A combination of red and gray, Regular and Bold faces of Akzidenz, this corner gives you simple, easy-to-digest directional information without shouting.

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January 2012

Handwriting

Handwriting is used in small amounts to personalize messages and to add a human touch.
The examples above have been supplied as artwork and should also be used as a reference when creating your own handwritten copy. Use handwriting sparingly to accentuate headers, taglines or namesnever for information, long headlines or body copy. 52

If handwriting is not a viable option, use Georgia instead. Do not use a digital handwriting font. Dont mix handwriting with Akzidenz or Georgia within the same sentence. Handwriting should stand on its own.

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January 2012

Blood Services tagline

The need is constant. The gratification is instant. Give blood.

This is the Blood Services tagline that can be used in conjunction with branded pieces. It is a trademarked element of the American Red Cross.
The tagline should not be locked up with the logo. Refer to the typography section for font usage and be sure to observe all rules laid out in the guide when associating with logo families. 54

This is for Blood Services use only. Since this is a trademarked tagline, do not create a handwritten version of it. Having a TM at the end does not t with the personal, human feel of handwriting.

The need is constant. The gratification is instant. Give blood.

DO set the tagline small and red.

nstant. The need is co on is instant. The gratificati Give blood.


The need is constant. The gratification is instant. Give blood.

DO use the tagline large or on a card, or both.

Dont place the tagline too close to the logo. See below.

Always set the tagline in three lines, in Georgia Regular (because it read as a voice of the Red Cross), left-aligned, with a superscripted TM. It can be scaled, colored and moved as needed.

Avoid almost a lockup To avoid creating an almost lockup, be sure to follow the established clear space rules for logos, and avoid trying to lock up the tagline with a logo. 55

The blue dotted box above indicates the stay-away distance.

January 2012

Card graphic

Cards turn type into objects, adding meaning and dimension to a layout. They are also useful for creating a holding device for handwritten or other typographical information.
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Content can be headlines, pull-quotes, service marks or informational data e.g., event location.

Creating card graphics

Step 1 In InDesign, Place the le card_texture_GS.psd and adjust the edges of the bounding box to the desired shape. (Crop, rather than distort, the shape of the image.) In Illustrator, do the same thing using a Clipping Mask.

Step 2 Duplicate the box, delete the image and fill with 40% tint of black. Offset slightly, straight down. Shorten by half, from the top, and pull in the top points to hide any shadow on the sides. Send to the back and set to Multiply.

Step 3 Using the Pen tool, add a curved point at the center of the bottom box, and pull this new point back up to the edge of the card texture image, creating two triangular shadow areas.

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January 2012

Photography overview

We have three different types of photography, each with its own purpose and usage.
Moments Portraits Objects

We want to capture the humanity and unconditional caring that the American Red Cross exhibits when we carry out our mission. We want to see the true human connection between the Red Cross workers and the clients theyre helping, and show that in these difcult times, we can come together.

The images should feel optimistic, hopeful and compassionate. We want to show the positive side of these dire circumstances, without being nave about the reality of the situation.

Objects can be used with a portrait to tell a story and to add an additional human touch or positive feeling. Access the Red Cross photo library through CrossNet.

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Photography considerations

Use these approaches for both new photography and combing the archives.

Depth of eld Selective focus highlights individuals and allows them to stand out against their surroundings. Shoot photos with background context to create meaning and relevance. Focus in on a specic element to tell a more specic story.

Good cropping Add focus and interest without losing a sense of context. This is a great way to restage archive images.

Minimize old logos Using depth of eld, cropping and composition, minimize the strength and importance of the older logos within compositions, without losing their relevance or the essence of the scene.

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January 2012

Moments photography

Moments create an emotional connection and demonstrate the purpose and importance of the American Red Cross.
Moments have a reportage feel, capturing people actively doing things, but not directly engaged with the photographer or viewer.

Find moments of positive interaction that are upbeat without trivializing the situation. Context can help tell the story. Branding is included where possible.

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Portrait photography Participants

Participant portraits candidly show the helpers and the helped in the context of actual events.
They are used as storytelling devices to share Red Cross moments, creating intimate connections with individuals. More often than not, the subject is directly engaged with the viewer, or at the very least, is clearly aware the photographer is present, but direct eye contact is not necessary. 61

Branding is included where possible, but in order to preserve authenticity shots should not be posed or propped.

January 2012

Portrait photography Supporters

Supporter portraits show donors and staff proud to be associated with the cross, which must appear somewhere in the image, e.g., on banners, vehicles, signs and pins. Context helps tell the subjects personal story. The image is clearly set up as a more formal portrait than a participant portrait, but is not stuffy or staid. 62

Portrait photography Supporters

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January 2012

Objects photography Found

Found objects that are photographed in the context of actual events are effective at engaging the viewer.
The close crops also add a level of intimacy and bring the story to a very human, individual level. In conjunction with Moments or Portrait photography, Objects are helpful to expand a story and create an emotional sensibility. 64

Objects photography Iconic

Iconic objects aid in storytelling, and complement Moments photography.


Objects on white/gray backgrounds express broad themes. Whenever possible, the objects should be red, white or gray. Iconic objects play a supporting role to other photography in most activations, but in some instances, like invitations, it is acceptable to use them on their own. 65

Shooting iconic objects Overhead On at, white background Minimal shadows Strong, even, consistent lighting Realistic, not stylized

January 2012

Photo implementation styles


Full bleed image Photos with borders

Iconic object on white

There are three different ways of incorporating photography into a layout.


Bleeding the image off the page on at least three sides; putting the image in a photo border; and specically for iconic objects, showing them on a at white background. 66

Any other methods of styling an image are prohibited. Additional details are found on the pages that follow.

Using photo borders on images

Step 1 In Photoshop, Open either the horizontal or vertical version of the le photo_border_x.psd and the image you want to use. Convert your image to CMYK.

Step 2 Control-click on the background layer in your image to Duplicate Layer into the border le.

Step 3 Move the new layer above the layer titled Placeholder and situate as needed. Save As and Place into design program. Rotate up to 6 in either direction, or leave straight.

Photo borders turn images into objects, integrating them into compositions.
Premade borders for both the vertical and horizontal orientation of 4:3 images, as well as square and panoramic, are available on Brand Central.

Do not attempt to create additional versions in other shapes. Crop or adjust your image to t within these border shapes. Follow the instructions above to add a border to your image. January 2012

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Photography dos and donts

DO bleed photos on at least three sides if a photo border is not used.

Dont distort or apply effects to images. Leave them natural and realistic.

DO use object imagery with or without bleed as appropriate.

Dont over-rotate images. Go 6 in either direction, maximum.

DO treat cards like objects and have them interact with images. 68

Dont place an image with a shadow without a border.

Crossroads
A Publication of the American Red Cross of Bay Area Chapter
Winter 2012

My Red Cross Story

What I saw in Joplin


About a year ago, my mom, who is a Red Cross Disaster Action Team member, asked me and my sister Sierra if we wanted to join the Red Cross as youth volunteers. I said, sure, but after I started wondering when I would actually be needed, and for what purpose. Then Sunday, May 22, 2011, happened. That day, a massive tornado tore through Joplin, MOthe deadliest in nearly 60 years. What Ive seen is really hard to explain. Its one of those things

you have to experience for yourself to comprehend what kind of devastation has happened here. I went to the shelter at Missouri Southern State University, thinking it would be like all the other shelters I had worked at before. I was wrong. This one was much bigger and had many more people in it. And there were so many

Inside
P2 A Message from the President and CEO P3 Ready at a moments notice P4 Saving his rescuers ife

Dont create photo borders with uneven widths.

Dont create custom borders (colors, ripped or scalloped edges, etc.).

Dont use too many images.

Dont rotate images in a manner which creates patterns.

Dont use images of radically different sizes together.

Dont cut people out of images or have them oating without context.

Dont place an image completely within a card.

Dont add or remove content from images. 69

Never Photoshop images unless they are stock images from produced photo shoots.
January 2012

Cross pattern

This photo has been altered to illustrate how a revised blanket design would look when wrapped around someone. This blanket is not yet available.

The cross pattern is made from many crosses coming together to form a unied whole.
The pattern represents unity: a single purpose made possible by the contributions of many. Its similarity to a quilt gives the brand warmth and differentiates the American Red Cross from medical institutions, services and products that use a red cross. 70

As it is a bold graphic element, use sparingly (e.g., inside cover of a catalog, inside lining of a bag or rst aid kit interior). Always and only print it in Red Cross Red (PMS 485).

Activations

Every activation is an opportunity for brand expression. Design each piece with reverence for the attributes expressed in the preceding pages.
This section provides a sampling of brand activations to demonstrate how the new visual identity system comes to life across various media and tactics. Authentic Straightforward Engaging Condent Visionary

72

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January 2012

Greater Lehigh Valley Chapter 2200 Avenue A Bethlehem, PA 18017-2118

Direct mail piece


74

Workplace giving posters


75 January 2012

Fundraising brochure
76

Annual report
77 January 2012

Printed newsletter cover and interior page


78

Digital newsletter
79 January 2012

Business Communications

Lorem Ipsum

Manager, Disaster Public Affairs Communications Greater Lehigh Valley Chapter 2200 Avenue A Bethlehem, PA 18017-2118 Tel (123) 123-4567 Cell (123) 123-4567 Fax (123) 123-4567 loremipsum@usa.redcross.org Twitter: @LoremIpsum Skype: LoremIpsum facebook.com/chapteraddress redcross.org

Stationery and email signature


80

Greater Lehigh Valley Chapter 2200 Avenue A Bethlehem, PA 18017-2118 (123) 123-4567 redcross.org

Lorem Ipsum, Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt

Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam quaerat lorem ipsum voluptatem. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt

Dolor Sit Amet

Greater Lehigh Valley Chapter 2200 Avenue A Bethlehem, PA 18017-2118

81

January 2012

Chapter brochure
82

Chapter invitation
83 January 2012

Web site
84

redcross.org

redcross.org

National and chapter-based television end frames


85 January 2012

Blood Services

Bloodmobile
86

NAME

BLOOD TYPE

NAME

Donor Name
BLOOD TYPE

O Negative
Valued Blood Donor

X0000

000000

Donor card
87 January 2012

Blood Services

The need is constant. The gratification is instant. Give blood.

Tagline and privacy screen


88

Preparedness, Health and Safety Services

E-sheet
89 January 2012

Preparedness, Health and Safety Services

Catalog spine, cover, rst page and brochure covers


90

Class yer
91 January 2012

Disaster

Vests and name tags


92

Emergency response vehicle


93 January 2012

Resources For templates and customizable marketing materials, please visit Brand Central. For questions or help with these guidelines, please email brandcentral@usa.redcross.org.

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Co-branding guidelines
General info Alignment with the Red Cross brand may be provided to corporate and foundation partners in accordance with the giving levels outlined in the Annual Corporate and Foundation Partner Benets Matrix. Logo size and placement: When the American Red Cross brandmark is used with a corporate, governmental or NGO logo, the Red Cross must appear greater or equal in size. Follow clear space rules for how far apart logos should stay.* When the Red Cross logo appears with a corporate, governmental or NGO logo in partner-disseminated materials, the following disclaimer should appear in the viewing area in type no smaller than 8 points: The American Red Cross name and emblem are used with its permission, which in no way constitutes an endorsement, express or implied, of any product, service, company, opinion or political position. For more information about the American Red Cross, please visit redcross.org. When a corporate, governmental or NGO logo appears with the Red Cross logo on Red Crossdisseminated materials, the following language must be included in type no smaller than 8 points: All service marks used with permission. * Exceptions may be made for cause marketing tactics. These will be reviewed and addressed by Brand Marketing on a case-by-case basis. 95 Fundraising When a corporation is raising funds for the Red Cross, the following language must be included: Percent of sale on product: For every PRODUCT sold, COMPANY will donate $X/X% of the sale price to the American Red Cross with a MINIMUM/ MAXIMUM guaranteed contribution of $X between DATE and DATE. Customer donations at point of purchase: Retail, will collect checks: The American Red Cross will not receive your contact information. Should you require a receipt from the American Red Cross, please give your donation in the form of a check made payable to the American Red Cross. Retail, will not collect checks: The American Red Cross will not receive your contact information. Should you require a receipt from the American Red Cross, please give online at www. redcross.org. Banks: The American Red Cross will not receive your contact information. Should you require a receipt from the American Red Cross, please give online at www.redcross.org. Donated vehicles To ensure that the public immediately identies a donated vehicle as representing the Red Cross, the donors logo should be no more than half the height of the cross. It should appear on the lower third of the vehicle, preferably in the rear corner. Above the logo, the language should read: Generously donated by if the vehicle has been donated in-kind or if the funder has underwritten the full purchase price of the vehicle. Proud supporters include if vehicle branding is provided as recognition for a gift that is not supporting the purchase of the vehicle. The language should be 70% black, a match to Cool Gray 11 or black. Sides and Rear: The donors logo should be no taller than half the height of the cross that appears on that side, and should appear on the bottom third of the body and be accompanied by the approved donation language. If space is an issue, the name of the company rather than its logo may be used on the rear. On smaller vehicles, it may not be possible to include donor acknowledgments on the rear of the vehicle. Top: This is for aerial identication of Red Cross vehicles. Sponsor logos should not appear here. If there are multiple donors, a list of the organization names, rather than multiple logos, is preferred. January 2012

Trademarks

The American Red Cross trademark portfolio is available on theCrossNet Brand Toolkit. Contact The Ofce of the General Counsel at trademarks@usa.redcross.org for more information. 96

2011 The American National Red Cross. The American Red Cross name and logo are registered trademarks of the American Red Cross.