104

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Brand Guidelines

2008

Brand Summary

Mission

To guide designers through the graphic identity of 104 (Le Cent Quatre), presenting not just a set of rules but a flexible, recognizable graphic language that reflects the organization’s structure and spirit, and to serve as a cultural and artistic hub open to all forms of art and the public [^1].

Core Values

work-in-progress
flexibility
recognizability
clarity
minimalism
democratization of art
community engagement

Target Audience

Graphic designers commissioned by 104, artists, residents, the local Parisian community, and a broad public interested in contemporary art and culture [^2].

Personality Traits

modern
geometric
minimalistic
punk
institutional
open
progressive

Visual Identity Overview

The visual identity is built on geometric forms (line, circle, triangle), a flexible logo system, and a strict use of black and white (with occasional primary colors for signage). Typography is based on Futura, used in a minimal, sharp, and geometric way. The overall style is modern, bold, and highly structured, with a focus on clarity, modularity, and adaptability across various media and formats [^3].

Categories

Brand Voice

A short note about the language (not the graphic language, but the language this manual is written in). As you notice, this manual is written in English. We hope this is not a obstacle. It is our experience that most graphic designers can read English without serious problems. After all, graphic design is a cosmopolitan profession, a discipline closely linked to international ideas and ideals. So we hope that our use of English is not problematic.
Instead of just giving you these rules, we want to try a different approach. We want to present the graphic identity of 104 not as a set of laws, but as a graphic language. A language that contains, just as any other language, not only rules, but also a structure, a grammar, and most important of all, a certain spirit.
We think it’s a flexible, recognizable language, a language that befits the structure and building of 104. We sincerely hope you can work with it.
The subjective text is the text that the employees of 104 will write on the letterhead. It is the personal handwriting of the individual person, as opposed to the collective voice of 104.
We introduced this category because we think that it is important to make a distinction between these two voices: the institutional voice, and the subjective voice.
As the typeface that will be used to write letters with (or in other words, the subjective voice), we suggest Courier. It is a typeface that refers to typewriters; it refers to a sort of text that is typed, not printed. It refers to writing, not to designing. Above all, Courier is a practical typeface to use; everybody has Courier on his/her computer, while Futura is a font that is not automatically available to everyone.

Brand Imagery

The starting point for the whole graphic identity is the idea of the ’echafaudage’ (in English, scaffolding structure). For us, the echafaudage symbolizes the concept of the ‘work-in-progress’, one of the main themes of 104. Also, the metal construction of the echafaudage refers to early-industrial architecture in general, the iron and glass constructions that Walter Benjamin describes extensively in his famous work ‘The Arcades Project’. This book was a big inspiration to us.
Added to that, we think that the echafaudages can be seen as simplified forms of street furniture (street signs, billboards, sandwich men, kiosks, benches, barricades). In other words, the echafaudages will give 104 the appearance of a dream-like street, for the ‘flaneur’ to walk through.
A more practical reason is that the echafaudages can be used as moveable walls, and that they have a high visual impact.
For us, the whole sign system can be easily solved by using only the system of echafaudages. It will be quite a progressive concept: a sign system that would be completely moveable, floating in space, not fixed to the building itself, not painted on the walls.
On the following pages (illustrations 01-26), we show a small selection of early sketches. We also enclosed some early sketches in the last chapter of this manual (chapter 12). A more complete collection of sketches, maquettes and research material can be found in the archive of 104.
As we already explained, the main purpose of these sketches is to give you, the reader, a better understanding of the graphic identity. By showing you the history and process behind it, we try to make our way of thinking visible. We hope that this will give you a better grip on the graphic language of 104.

Color Palette

As can be seen in some of our earlier sketches (a small selection of these sketches can be seen in chapters 01 and 12; a more complete collection can be found in the archives of 104), our first proposal for the colour scheme was to use a combination of yellow and black. To us, the combination of yellow and black refers to the danger-and warning-signs that can be found on the street. And since the 104 building will be a street (a surreal street, but still, a street), the combination of yellow and black seemed quite natural to us.
Also, the use of yellow and black would have been quite practical: if you combine these two colours with a white background, it is possible to make a large amount of different combinations. Combinations that are all very clear, but also very different: yellow on black, black on yellow, white on black, black on white, black/white on yellow, yellow/white on black, etc. etc.
However, since this colour proposal was rejected by the mayor, we had to come up with a new colour scheme. For this new colour scheme, we decided to make it even more basic: black and white.
Actually, black & white is quite a strong choice for 104. It is the sharpest combination there is. It’ll keep the graphic identity crisp and clear.
So, as Henry Ford once said: “Any colour you like, as long as it’s black”.
In other words, for all the printed matter, you should use a black and white colour scheme. But remember: only 100% black, and 100% white. NO GREYTONES! Grey tones will make the graphic identity look foggy and swampy.
At a later point in the future, we might introduce a colour scheme based on the primary colours (yellow, red and blue), to be used in the sign system for 104. But for now, for the printed matter, we strongly advise you to use black and white!

Typography

{ “category”: “typography”, “guidelines”: [ { “guideline”: “As we already explained, the typeface we want to use throughout the whole graphic identity is Futura (see chapter 03). Futura should be used in a minimalistic, very cool way. It should never be used in a layered, cluttered or messy manner. It should be sharp as a razor blade. Because, if Futura is used in the wrong way, the result will look terrible.”, “pages”: [031] }, { “guideline”: “The basic rule is: not more than three sizes of Futura in one piece of graphic design. In other words, an item (poster, invitation, etc.) should NEVER contain more than three different sizes of Futura. (Actually, three different sizes is already a lot. Try to cut it down to two sizes).”, “pages”: [031] }, { “guideline”: “The composition in which the type is used should be clear, modern, geometric. Don’t be afraid that it looks ’too dry’. Because it can never look too dry.”, “pages”: [031] }, { “guideline”: “The purpose is to develop a graphic language that is punk and minimalistic at the same time, and that will cut through the clutter like a knife through butter. Then, a remark about the kerning. As you probably know, ‘kerning’ (or ‘spacing’) means ‘adjusting the space between letters’. A big part of designing is kerning: we usually spend an incredible amount of our time adjusting the spacing between the letters. Our rule for kerning is ‘TBNT’: Tight But Not Touching. In other words, the kerning should be tight, and the letters should be as close to each other as possible, but the letters should never touch!”, “pages”: [031] }, { “guideline”: “In the 104 graphic identity, the ’text-as-image’ is always set in capital (uppercase) letters. Also, the letter ‘A’ has to be replaced by a triangle; the number ‘4’ also has to be replaced by a triangle; the number ‘1’ has to be replaced by a line; And the number ‘0’ has to be replaced by a round ‘O’.”, “pages”: [032] }, { “guideline”: “The four sorts of Futura that you need for the ’text-as-image’ category are: 1. Futura Std Light, to be used in combination with the 104 ‘Light’ logo. 2. Futura Std Medium, to be used in combination with 104 ‘Medium’ logo. 3. Futura Std Bold, to be used in combination with the 104 ‘Bold’ logo. 4. Futura Std Extra Bold, to be used in combination with 104 ‘Extrabold’ logo.”, “pages”: [032] }, { “guideline”: “For this institutional text, you have to use Futura Std Book.”, “pages”: [033] }, { “guideline”: “In specific cases (for headings, titles etc.) you can add Futura Std Bold. A simple example of Futura Std Bold in an institutional text can be seen on the backside of the invitation for La Traversee (chapter 05.01, illustration 85, or simply look below, illutration 92), where in both the factual information columns (in the right top corner of the card) the title of the exhibition is set in Futura Std Bold.”, “pages”: [033] }, { “guideline”: “However, we strongly suggest to use Futura Std Bold only in very specific cases: only for important titles and headings. The more Futura Std Bold is used, the less effect it has. If it’s used too often, the text becomes messy.”, “pages”: [033] }, { “guideline”: “When the institutional text only contains some factual information (address, etc.), all the text can be set in capital (uppercase) letters. These capital letters will give the text a more geometric, sharp feel. Examples of institutional text set in capital letters can be found everywhere in the stationery: all the address information, etc.”, “pages”: [033] }, { “guideline”: “When the institutional text is more ’narrative’ than ‘factual’, in that case you can use the letters in a mixed way (lowercase and uppercase together). An example of a ’narrative’ institutional text is the text of this graphic manual; the very text you are reading right now.”, “pages”: [033] }, { “guideline”: “As the typeface that will be used to write letters with (or in other words, the subjective voice), we suggest Courier. It is a typeface that refers to typewriters; it refers to a sort of text that is typed, not printed. It refers to writing, not to designing. Above all, Courier is a practical typeface to use; everybody has Courier on his/her computer, while Futura is a font that is not automatically available to everyone.”, “pages”: [034] }, { “guideline”: “We like to urge all graphic designers (and other employees of 104) to use the proper quote signs (with the term ‘quote signs’, we refer not only to quotation/citation marks, but also to apostrophes). To put it simply, for citation marks, and for apostrophes, you always have to use curled quote signs (" "). The use of straight quote signs (" ") is only justified when used in measurements (inches, seconds, etc.), although, even in those circumstances, the use of straight quote signs is sometimes frowned upon. So in general, as a rule, it is safest to simply NEVER use straight quote signs! (Unless there is a very strong conceptual reason to do so. But even then, the use of straight quote signs can look very amateurish!) In some online uses (internet environments), the use of straight quote signs is unavoidable, because of matters of coding. But in the case of printed matter, there is no excuse: Never use straight quote signs! Of course, in French texts, you can also use French citation marks: « » Just as long as you don’t use straight citation marks: 11 11”, “pages”: [101] }, { “guideline”: “In all printed matter and official documents, the occurrence of ‘widows’ needs to be avoided at all costs. As all graphic designers know, a ‘widow’ is a single word, dangling at the bottom of a paragraph. It is generally considered poor typography.”, “pages”: [101] }, { “guideline”: “In all printed matter and official documents, the occurrence of ‘widows’ needs to be avoided at all costs. As all graphic designers know, a ‘widow’ is a single word, dangling at the bottom of a paragraph. It is generally considered poor typography.”, “pages”: [101] }, { “guideline”: “In normal reading text (so-called ‘body text’ or, as we describe it in chapter 08.03, ‘subjective text’, or ’narrative text’), the word ‘Le Cent Quatre’ should be written simply as ‘Le Cent Quatre’, and not as ‘LE CENT QUATRE’. The fact that the logo says ‘LE 104 CENT QUATRE’ does not mean that, in reading text, the word ‘Le Cent Quatre’ should be written as ‘LE CENT QUATRE’. We strongly prefer a distinction between the reading text (text-as-text), and the logo (text-as-image).”, “pages”: [101] } ] }

Logo Usage

The logo of 104 is basically a set of three symbols: a line, a circle and a triangle. We think of these forms as elemental building blocks, as early-industrial shapes. It’s very abstract and very recognizable at the same time. The geometric shapes refer to the blocky SMPF logo that used to hang at the entrance of the building of the ‘Service Municipal des Pompes Funebres’, the present location of 104. But more importantly, the triangle that we use in the 104 logo strongly resembles an echafaudage as seen from the side (sideways).
The logo system of 104 exists of twelve different logos (see illustrations 27-38). First, there are the four ’number-logos’: the logos that only show the number 104. The four versions of this logo are Light, Medium, Bold and Extrabold. Secondly, there are the four ‘word-logos’: the logos that show the full phrase ‘Le 104 Cent Quatre’. As with the number-logo, there are four version of the word-logo: Light, Medium, Bold and Extrabold.
Then, there are four special word-logos. These so-called ‘Paris-logos’ contain not only the phrase ‘Le 104 Cent Quatre’, but also the sentence ‘Etablissement Artistique de la Ville de Paris’. These logos also come in four versions: Light, Medium, Bold and Extra bold.
All four versions (Light, Medium, Bold, Extra bold) of the logo can be used. The idea behind this is that the logo will be never fixed, that the viewer will always be confronted with another version of the logo. In other words, it is perfectly acceptable that a person will first receive an invitation carrying a Medium logo, and a few weeks later an invitation carrying a Light logo.
However, there are more strict rules when it comes to the usage of the ‘word-logo’ versus the ’number-logo’. In general, we suggest the following: The number-logo can be used, if the phrase ‘Cent Quatre’, and the sentence ‘Etablissement Artistique de la Ville de Paris’, are already mentioned elsewhere in the text.
The word-logo has to be used when the phrase ‘Cent Quatre’, and the sentence ‘Etablissement Artistique de la Ville de Paris’, are not mentioned anywhere else. For example, when the logo is used completely isolated, without any other text. In that case, the word-logo has to be used.
On each item, the logo has the same height: 30 mm. This means that the logo on the largest item (the 229x324 mm envelope) has the same size as the logo on the smallest item (the business card).
On each item, the logo is placed in the upper left corner. (The only exception to this is the business card, where the logo is placed in the bottom left corner). On the large items (the envelopes, the A4 letterhead, the A5 cards) the logo is placed 10 mm from the top, and 10 mm from the left side. On the medium items (the A6 cards), the logo is placed 7 mm from the top, and 7 mm from the left side. On the small items (the business cards), the logo is placed 5 mm from the left side, and 5 mm from the bottom.
On the letterhead, the logo has a height of 30 mm, and is placed in the top left corner, 10 mm from the top of the paper, and 10 mm from the left side of the paper.
On the front of the business cards, the 104 logo is placed in the bottom left corner. The logo has an height of 30 mm, and is placed 5 mm from the left side from the paper, and 5 mm from the bottom of the paper.
On the A5-sized card, the logo (height 30 mm) is placed on the top left corner, 10 mm from the sides of the paper. On the backside of the card, we repeat the logo, in the exact same position (top left corner, 10 mm from each side).
On the A6-sized card, the logo (height 30 mm) is placed on the top left corner, 10 mm from the sides of the paper.
On the ‘dossier’, the logo is placed on the frontside of the folder in the usual way: top left bottom position, height 30 mm, 10 mm from the fold, and 10 mm from the top of the paper.
For all the printed matter, you should use a black and white colour scheme. But remember: only 100% black, and 100% white. NO GREYTONES! Grey tones will make the graphic identity look foggy and swampy.

Tone And Messaging

Instead of just giving you these rules, we want to try a different approach. We want to present the graphic identity of 104 not as a set of laws, but as a graphic language. A language that contains, just as any other language, not only rules, but also a structure, a grammar, and most important of all, a certain spirit.
We think it’s a flexible, recognizable language, a language that befits the structure and building of 104. We sincerely hope you can work with it.
The starting point for the whole graphic identity is the idea of the ’echafaudage’ (in English, scaffolding structure). For us, the echafaudage symbolizes the concept of the ‘work-in-progress’, one of the main themes of 104.
The metal construction of the echafaudage refers to early-industrial architecture in general, the iron and glass constructions that Walter Benjamin describes extensively in his famous work ‘The Arcades Project’. This book was a big inspiration to us.
The basic rule is: not more than three sizes of Futura in one piece of graphic design. In other words, an item (poster, invitation, etc.) should NEVER contain more than three different sizes of Futura. (Actually, three different sizes is already a lot. Try to cut it down to two sizes).
The composition in which the type is used should be clear, modern, geometric. Don’t be afraid that it looks ’too dry’. Because it can never look too dry.
The purpose is to develop a graphic language that is punk and minimalistic at the same time, and that will cut through the clutter like a knife through butter.
Our rule for kerning is ‘TBNT’: Tight But Not Touching. In other words, the kerning should be tight, and the letters should be as close to each other as possible, but the letters should never touch!
In the 104 graphic identity, the ’text-as-image’ is always set in capital (uppercase) letters. Also, the letter ‘A’ has to be replaced by a triangle; the number ‘4’ also has to be replaced by a triangle; the number ‘1’ has to be replaced by an ‘I’; And the number ‘0’ has to be replaced by a round ‘O’.
When the institutional text only contains some factual information (address, etc.), all the text can be set in capital (uppercase) letters. These capital letters will give the text a more geometric, sharp feel.
When the institutional text is more ’narrative’ than ‘factual’, in that case you can use the letters in a mixed way (lowercase and uppercase together).
The subjective text is the text that the employees of 104 will write on the letterhead. It is the personal handwriting of the individual person, as opposed to the collective voice of 104.
We introduced this category because we think that it is important to make a distinction between these two voices: the institutional voice, and the subjective voice.
As the typeface that will be used to write letters with (or in other words, the subjective voice), we suggest Courier. It is a typeface that refers to typewriters; it refers to a sort of text that is typed, not printed. It refers to writing, not to designing.

Brand Values

The starting point for the whole graphic identity is the idea of the ’echafaudage’ (in English, scaffolding structure). For us, the echafaudage symbolizes the concept of the ‘work-in-progress’, one of the main themes of 104. Also, the metal construction of the echafaudage refers to early-industrial architecture in general, the iron and glass constructions that Walter Benjamin describes extensively in his famous work ‘The Arcades Project’. This book was a big inspiration to us.
Added to that, we think that the echafaudages can be seen as simplified forms of street furniture (street signs, billboards, sandwich men, kiosks, benches, barricades). In other words, the echafaudages will give 104 the appearance of a dream-like street, for the ‘flaneur’ to walk through.
A more practical reason is that the echafaudages can be used as moveable walls, and that they have a high visual impact.
For us, the whole sign system can be easily solved by using only the system of echafaudages. It will be quite a progressive concept: a sign system that would be completely moveable, floating in space, not fixed to the building itself, not painted on the walls.

Visual Style

The logo of 104 is basically a set of three symbols: a line, a circle and a triangle. We think of these forms as elemental building blocks, as early-industrial shapes. It’s very abstract and very recognizable at the same time. The geometric shapes refer to the blocky SMPF logo that used to hang at the entrance of the building of the ‘Service Municipal des Pompes Funebres’, the present location of 104. But more importantly, the triangle that we use in the 104 logo strongly resembles an echafaudage as seen from the side (sideways).
The logo system of 104 exists of twelve different logos (see illustrations 27-38). First, there are the four ’number-logos’: the logos that only show the number 104. The four versions of this logo are Light, Medium, Bold and Extrabold. Secondly, there are the four ‘word-logos’: the logos that show the full phrase ‘Le 104 Cent Quatre’. As with the number-logo, there are four version of the word-logo: Light, Medium, Bold and Extrabold.
Then, there are four special word-logos. These so-called ‘Paris-logos’ contain not only the phrase ‘Le 104 Cent Quatre’, but also the sentence ‘Etablissement Artistique de la Ville de Paris’. These logos also come in four versions: Light, Medium, Bold and Extra bold.
All four versions (Light, Medium, Bold, Extra bold) of the logo can be used. The idea behind this is that the logo will be never fixed, that the viewer will always be confronted with another version of the logo. In other words, it is perfectly acceptable that a person will first receive an invitation carrying a Medium logo, and a few weeks later an invitation carrying a Light logo.
This ‘unstableness’ is to underline the idea of the ‘work-in-progress’, to let the logo travel from Light to Extrabold, and back again.
However, there are more strict rules when it comes to the usage of the ‘word-logo’ versus the ’number-logo’. In general, we suggest the following: The number-logo can be used, if the phrase ‘Cent Quatre’, and the sentence ‘Etablissement Artistique de la Ville de Paris’, are already mentioned elsewhere in the text.
The word-logo has to be used when the phrase ‘Cent Quatre’, and the sentence ‘Etablissement Artistique de la Ville de Paris’, are not mentioned anywhere else. For example, when the logo is used completely isolated, without any other text. In that case, the word-logo has to be used.
For the graphic identity of 104, we used the typeface Futura, designed in 1927 by Paul Renner. It’s a typical early-industrial typeface, referring very much to the transition from the 19th century to the 20th century. It fits extremely well in the environment of a passage/arcade.
We added, to this alphabet, the geometric shapes of the 104 logo: the line, the circle and the triangle. Illustrations 23-26 show four alphabets (Light, Medium, Bold, Extra bold) in which the letter A is replaced by a triangle, the number 4 is also replaced by a triangle, and the number 1 is replaced by a line.
Generally speaking, every item of the stationery comes in four versions: a version carrying a Light logo, a version carrying a Medium logo, a version carrying a Bold logo, and a version carrying a Extrabold logo.
On each item, the logo has the same height: 30 mm. This means that the logo on the largest item (the 229x324 mm envelope) has the same size as the logo on the smallest item (the business card).
On each item, the logo is placed in the upper left corner. (The only exception to this is the business card, where the logo is placed in the bottom left corner). On the large items (the envelopes, the A4 letterhead, the A5 cards) the logo is placed 10 mm from the top, and 10 mm from the left side. On the medium items (the A6 cards), the logo is placed 7 mm from the top, and 7 mm from the left side. On the small items (the business cards), the logo is placed 5 mm from the left side, and 5 mm from the bottom.
The typeface we want to use throughout the whole graphic identity is Futura (see chapter 03). Futura should be used in a minimalistic, very cool way. It should never be used in a layered, cluttered or messy manner. It should be sharp as a razor blade. Because, if Futura is used in the wrong way, the result will look terrible.
The basic rule is: not more than three sizes of Futura in one piece of graphic design. In other words, an item (poster, invitation, etc.) should NEVER contain more than three different sizes of Futura. (Actually, three different sizes is already a lot. Try to cut it down to two sizes).
The composition in which the type is used should be clear, modern, geometric. Don’t be afraid that it looks ’too dry’. Because it can never look too dry.
The purpose is to develop a graphic language that is punk and minimalistic at the same time, and that will cut through the clutter like a knife through butter.
Our rule for kerning is ‘TBNT’: Tight But Not Touching. In other words, the kerning should be tight, and the letters should be as close to each other as possible, but the letters should never touch!
In the 104 graphic identity, the ’text-as-image’ is always set in capital (uppercase) letters. Also, the letter ‘A’ has to be replaced by a triangle; the number ‘4’ also has to be replaced by a triangle; the number ‘1’ has to be replaced by an ‘I’; And the number ‘0’ has to be replaced by a round ‘O’.
The four sorts of Futura that you need for the ’text-as-image’ category are: 1. Futura Std Light, to be used in combination with the 104 ‘Light’ logo. 2. Futura Std Medium, to be used in combination with 104 ‘Medium’ logo. 3. Futura Std Bold, to be used in combination with the 104 ‘Bold’ logo. 4. Futura Std Extra Bold, to be used in combination with the 104 ‘Extrabold’ logo.
For all the printed matter, you should use a black and white colour scheme. But remember: only 100% black, and 100% white. NO GREYTONES! Grey tones will make the graphic identity look foggy and swampy.

Layout And Composition

The stationery is designed in a quite systematic way. Generally speaking, every item of the stationery comes in four versions: a version carrying a Light logo, a version carrying a Medium logo, a version carrying a Bold logo, and a version carrying a Extrabold logo. For example, there are four different letterheads: Light, Medium, Bold, Extrabold.
On each item, the logo has the same height: 30 mm. This means that the logo on the largest item (the 229x324 mm envelope) has the same size as the logo on the smallest item (the business card).
On each item, the logo is placed in the upper left corner. (The only exception to this is the business card, where the logo is placed in the bottom left corner). On the large items (the envelopes, the A4 letterhead, the A5 cards) the logo is placed 10 mm from the top, and 10 mm from the left side. On the medium items (the A6 cards), the logo is placed 7 mm from the top, and 7 mm from the left side. On the small items (the business cards), the logo is placed 5 mm from the left side, and 5 mm from the bottom.
On the letterhead, the logo has a height of 30 mm, and is placed in the top left corner, 10 mm from the top of the paper, and 10 mm from the left side of the paper.
The factual information (address etc.) is placed in the top right corner, in two columns, of eight lines each (including empty lines). These two columns have an height of 30 mm, exactly the same height as the 104 logo. And just like the 104 logo, these two columns are placed 10 mm from the top of the paper.
On the front of the business cards, the 104 logo is placed in the bottom left corner. The logo has an height of 30 mm, and is placed 5 mm from the left side from the paper, and 5 mm from the bottom of the paper.
On the backside, the text is divided in three ‘blocks’. The first two ‘blocks’ are the two columns that are placed at the bottom of the card, next to each other. These columns contain seven lines each (including empty lines), and have (more or less) the same height as the 104 logo on the frontside.
The third ‘block’ of text is the name of the person, and the function or title of this person. This information is placed in the left top corner, 5 mm from the top of the card, and 5 mm from the left side of the card.
On the frantsidealthecard, the logo (height 30 mm) is placed an the tap left corner, 10 mm from the sides of the paper. Underneath this Iago, another word (or phrase) can be placed, in the same size and weight of the logo. This ward (or phrase) will have a ‘pictorial’ role: it will function as an image an the card.
On the backside al the card, we repeat the logo, in the exact same position (tap left corner, 10 mm from each side). On the right top earner of the card, we place two columns of factual information, in the exact way, shape and farm as it is used on the letterhead.
On the frontside of this card, the logo (height 30 mm) is placed on the top left corner, 10 mm from the sides of the paper. Underneath this logo, another word (or phrase) can be placed, in the same size and weight of the logo. This word (or phrase) will have a ‘pictorial’ role: it will function as an image on the card.
On the backside of the card, we placed all the factual information, in one long column of 17 lines. This long column should have the same height as the logo and word (on the frontside of the card) together.
The ‘dossier’ is basically an A3-sized cardboard sheet, folded to an A4 format, so that it can serve as a folder to contoin A4-sized documents.
The logo is placed on the frontside of the folder in the usual way: top left bottom position, height 30 mm, 10 mm from the fold, and 10 mm from the top of the paper.
On the backside of the dossier, we placed the factual information in two columns of eight lines each. These two colums are the exact columns as used on the letterhead (see chapter 04.01). Only this time, these columns are placed in the bottom left corner, like a ‘sign-off’, a signature.
The basic rule is: not more than three sizes of Futura in one piece of graphic design. In other words, an item (poster, invitation, etc.) should NEVER contain more than three different sizes of Futura. (Actually, three different sizes is already a lot. Try to cut it down to two sizes).
The composition in which the type is used should be clear, modern, geometric. Don’t be afraid that it looks ’too dry’. Because it can never look too dry.
Our rule for kerning is ‘TBNT’: Tight But Not Touching. In other words, the kerning should be tight, and the letters should be as close to each other as possible, but the letters should never touch!
In the 104 graphic identity, the ’text-as-image’ is always set in capital (uppercase) letters. Also, the letter’A: has to be replaced by a triangle; the number ‘4’ also has to be replaced by a triangle; the number ’l’ has to be replaced by an ‘I’; And the number ‘0’ has to be replaced by a round ‘O’.
For all the printed matter, you should use a black and white colour scheme. But remember: only 100% black, and 100% white. NO GREYTONES! Grey tones will make the graphic identity look foggy and swampy.