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IDENTIDAD VISUAL
MANUAL DE
IDENTIDAD VISUAL
CONTENIDOS
Intro . . . . . . . . . . . .
Midori . . . . . . . . . . . .
Isologotipo . . . . . . . . . .
Isologotipo Vertical . . . . . . .
Disposicin De Elementos . . . . . .
Isologotipo Positivo/Negativo . . . . .
rea De Proteccin . . . . . . .
Tamao Mnimo . . . . . . . . .
Elementos Secundarios . . . . . . .
Tramas . . . . . . . . . . .
Usos Incorrectos . . . . . . . .
Colores . . . . . . . . .
Tipografa . . . . . . . . . .
Papelera . . . . . . . . . .
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Este manual de identidad visual intenta crear consistencia en la aplicacin de la marca creada para
identificarme. Incluye guas para la utilizacin del
isologo, isotipo, tipografa y color, que deben ser
aplicadas para todas las comunicaciones visuales
producidas por la diseadora.
No intenta proveer un conjunto de reglas para cada
aplicacin concebible de la marca, sino detallar las
especificaciones para las aplicaciones ms comunes, y dar pie para futuras aplicaciones.
MIDORI
Mi nombre es Paula Alonso Ishihara, y mi nombre japons es MIDORI, el cual decido usar como
marca para identificarme en el mbito del diseo
grfico.
MIDORI en japons significa verde, y el color de
la primer hoja en una planta. En este sentido la
marca intenta trasmitir un retorno a lo verde, a lo
ecolgico y bueno para el planeta, mediante utilizacin de papeles como el kraft. Tambin es una
alusin al crecimiento, tanto personal como en la
profesin de diseo grfico.
Como descendiente de japoneses, tengo como impronta, el gusto por el diseo minimalista, simple y
sofisticado, al cual se le suma mi obsesiva atencin
al detalle y personalidad analtica. Estos atributos,
entre otros, ayudaron a conceptualizar MIDORI.
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ISOLOGOTIPO
Isologotipo.
ISOLOGOTIPO
VERTICAL
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DISPOSICIN
DE ELEMENTOS
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ISOLOGOTIPO
POSITIVO / NEGATIVO
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Aplicacin de isologotipos en
negativo sobre fondos plenos
(negro, naranja y verde) y
en positivo sobre naranja y
verde.
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REA DE
PROTECCIN
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TAMAO
MNIMO
Es importante tener en cuenta al momento de reducir el isologotipo, que ste se mantenga reconocible y no pierda las caractersticas y trazos que lo
identifican. Para la legibilidad se recomienda un
tamao de ancho no menor a 2 cm para la versin
horizontal y 1.7 cm. para la versin vertical.
2cm.
1.7cm.
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ELEMENTOS
SECUNDARIOS
TRAMAS
Para complementar la identidad visual de la marca, se ha creado una trama, la misma puede ser
utilizada para decorar piezas grficas de MIDORI
y podr ser aplicada en color verde o naranja segn sea conveniente.
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USOS
INCORRECTOS
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COLORES
El color define un escenario de valores emocionales concretos que debemos considerar en su aplicacin a cualquier soporte de comunicacin.
El color principal del isologotipo de MIDORI, es el
color negro. Para complementar la monocroma
del mismo, elegimos dos colores adicionales que
representan la marca.
Estos colores se utilizarn en miscelneas, como
fondos plenos, en tramas, entre otras aplicaciones.
PMS Black C
CMYK 0,0,0,100
RGB 0,0,0
HEX 000000
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PMS 557C
CMYK 54,12,53,0
RGB 124,180,144
HEX 7CB490
PMS 165C
CMYK 0,75,100,0
RGB 255,102,0
HEX FF6600
TIPOGRAFA
Por sus caractersticas geomtricas que complementan la esttica del isologotipo, se eligi trabajar utilizando la familia de fuentes Futura en sus
distintas variables.
Futura
ABCDEFGHIJKLMNOPQRSTUVWYZ
abcdefghijklmnopqrstuvwyz
1234567890
Futura Medium
ABCDEFGHIJKLMNOPQRSTUVWYZ
abcdefghijklmnopqrstuvwyz
1234567890
Futura Heavy
ABCDEFGHIJKLMNOPQRSTUVWYZ
abcdefghijklmnopqrstuvwyz
1234567890
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PAPELERA
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10 mm.
50 mm.
DISEO GRFICO
+54 11 6057 6515
Bulnes 747, CABA
info@midorichan.com.ar
www.midorichan.com.ar
One morning, when Gregor Samsa woke from troubled dreams, he found
himself transformed in his bed into a horrible vermin. He lay on his armour-like
back, and if he lifted his head a little he could see his brown belly, slightly
domed and divided by arches into stiff sections. The bedding was hardly able to
cover it and seemed ready to slide off any moment. His many legs, pitifully thin
compared with the size of the rest of him, waved about helplessly as he looked.
Papel de carta
"What's happened to me? " he thought. It wasn't a dream. His room, a proper
human room although a little too small, lay peacefully between its four familiar
walls. A collection of textile samples lay spread out on the table - Samsa was a
travelling salesman - and above it there hung a picture that he had recently cut
out of an illustrated magazine and housed in a nice, gilded frame.
10 mm.
40 mm.
50 mm.
It showed a lady fitted out with a fur hat and fur boa who sat upright, raising a
heavy fur muff that covered the whole of her lower arm towards the viewer.
Gregor then turned to look out the window at the dull weather. Drops of rain
could be heard hitting the pane, which made him feel quite sad. "How about if I
sleep a little bit longer and forget all this nonsense", he thought, but that was
something he was unable to do because he was used to sleeping on his right,
and in his present state couldn't get into that position.
However hard he threw himself onto his right, he always rolled back to where he
was. He must have tried it a hundred times, shut his eyes so that he wouldn't
have to look at the floundering legs, and only stopped when he began to feel a
mild, dull pain there that he had never felt before. "Oh, God", he thought, "what
a strenuous career it is that I've chosen! Travelling day in and day out.
Doing business like this takes much more effort than doing your own business at
home, and on top of that there's the curse of travelling, worries about making
train connections, bad and irregular food, contact with different people all the
time so that you can never get to know anyone or become friendly with them. It
can all go to Hell! " He felt a slight itch up on his belly; pushed himself slowly up
on his back towards the headboard so that he could lift his head better; found
where the itch was, and saw that it was covered with lots of little white spots
which he didn't know what to make of; and when he tried to feel the place with
one of his legs he drew it quickly back because as soon as he touched it he was
overcome by a cold shudder. He slid back into his former position. "Getting up
early all the time", he thought, "it makes you stupid.
20 mm.
Las distancias especificadas que deben dejarse libres determinan un rea imprimible para texto de
140 x 227 mm.
20 mm.
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PAPELERA
Sobres
La seleccin de sobres se compone de dos tipos
para su uso de acuerdo a la conveniencia.
Sobre C4 Dimensiones: 324mm. x 229mm.
Sobre DL Dimensiones: 110mm. x 220mm.
Ambos sobres tienen la misma informacin que el
papel de carta y poseen la trama de la marca en
su interior.
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DISEO GRFICO
+54 11 6057 6515
Bulnes 747, CABA
info@midorichan.com.ar
www.midorichan.com.ar
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info@midorichan.com.ar
www.midorichan.com.ar
PAPELERA
Carpeta
Dimensiones: 430 x 303 mm. (abierta)
212.5 x 303 mm. (cerrada)
Espesor 5 mm.
En papel misionero con interior de trama.
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DISEO GRFICO
www.midorichan.com.ar
Tarjeta Personal
Dimensiones: 50 x 90 mm.
Las tarjetas tienen la misma trama y ubicacin del
isotipo en el dorso, variando el color predominante
entre los dos colores de la paleta de la marca. El
frente se mantiene constante.
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