Official Websites

• https://actionaid.gr
• https://actionaid.gr/en
• https://actionaid.gr/en/our-office
• https://actionaid.gr/en/contact-us
• https://actionaid.gr/en/actionaid

Brand Guidelines

2020

Brand Summary

Mission

• To transform the world into a better place by achieving social justice, gender equality, and eradicating poverty. ActionAid Hellas believes in the power of people to know, claim, and defend their rights, making the world fairer through collective action and change [^1].

Core Values

• dynamic
• deep
• memorable
• harmonious

Target Audience

• Members of communities, volunteers, supporters, partners, and investors who experience the brand through initiatives and communications. The brand aims to involve a larger audience in its mission and unify different aspects of its identity [^2].

Personality Traits

• bold
• clear
• friendly
• impactful
• honest
• agile
• harmonic

Visual Identity Overview

• The visual identity is built around a strong, iconic red color, paired with white and charcoal for sophistication. The Sidelight is a distinct and ownable asset, adding movement and color. Imagery focuses on real people and authentic stories, while typography uses Lato and Roboto Slab for clarity and impact. Layouts are dynamic, simple, and harmonious, with a focus on bold, memorable design [^3].

Categories

Brand Voice

• Our new identity aims to unify the different aspects of the ActionAid Hellas brand in one, distinctive voice and involve in our mission a larger audience.
• Always refer to these values when you create communication and marketing materials for ActionAid Hellas.
• Speak many languages as one.
• Dignify voices.

Brand Imagery

• Images define the tone οf voice of our communications.
• Create a meaningful narrative: the image needs to be connected to the message.
• Credit the photographers.
• When working with imagery, remember that being real and authentic is the primary driver of audience engagement and storytelling.
• We need to design in a way that all the elements of the layout create an engaging, harmonious and credible story.
• Recognising the power of images and their vital role in reinforcing our brand, key images should, as far as possible, capture and portray the core brand values of ‘change’: dynamic, deep, memorable and harmonic.
• Work with real un-posed and dynamic images to create a richer narrative. Include movement, wherever is possible to bring the feeling of “action” to our imagery.
• The style is documentary/journalistic to bring the feeling ActionAid is there.
• We must never be afraid of showing real emotions.
• We want our supporters to feel empathy with the people we depict.
• Bring to life the reality of each individual story, including context, name, sentences.
• Briefly provide context and visual references so that viewer can understand the image without reading the copy.
• Enrich the images with details that help identify the individuality of a person.
• In some occasions, we need to show we were there, working together with communities and people. Where possible, we are keen to capture images containing red, but this is secondary to the dynamism, realism and narrative that must be contained within the image.
• When we work with emotions, be careful not to objectify the people we represent: Never strip stories down to pure suffering; Avoid activating feelings of guilt or shame. Tapping into feelings of sadness (or anger) is okay if inviting contributors to action.
• Where possible, capture images containing red. This is secondary to the narrative, but it helps to bring the brand into the story.
• Reinforce the brand: a wide context gives the viewer information about our activities. The incidental inclusion of branding is natural and not placed.
• We know that people respond to images in fundraising materials that show a clear and strong need.
• However, this style of image should be used with care and supported with copy that tells a powerful and meaningful story.
• Remember that ActionAid is an enabler of change and so images should not undermine our mission and values by reinforcing that people in poor countries are helpless, hopeless and that the world never change despite what we do.
• We always credit the photographers we use in any external communications.
• Please place the credit in white or black (or tones of the same colour, whichever is most legible) set in Lato Regular, sentence case and size between 6/7pt.
• Credits uses the following structure: ©photographer’s full name or studio/ActionAid
• Position the credits in a legible area, at a discreet point size.
• Do not make credits too big
• Avoid busy backgrounds
• Instead, place the credits outside the image.
• Avoid positioning credits at the bottom of the image They become a disruptive element.

Color Palette

• ActionAid Red is a hugely important part of our visual identity, which communicates passion and action, and builds recognition of our life-changing work. Together with the Sidelight, the red colour becomes uplifting, iconic and disruptive.
• We often like to pair ActionAid Red with one or more of our colours – white, charcoal and warm grey – to give our communications materials a friendly and refined touch.
• Still, before any artwork leaves your hands and is shared with your audience, ensure that ActionAid Red always has a strong presence.
• We often prefer to stick to our primary colour palette, but – where additional shades are helpful to any design literature (reports, charts, infographics, etc..) – we suggest you choose from our selection of accents colours.
• For all our communications Red is our lead colour
• We base all our communication using our primary colour palette following the percentage shown in the chart above.
• Ensure that red always has a strong presence.
• White adds functional support (for the Sidelight, headline and text).
• Black is used with restraint to avoid the message becoming too gloomy and discouraging.
• For less prominent communications (secondary use) Accent colour based on an image
• We suggest using this colour option to create variations in design literature communications like reports, newsletters, brochure with many pages, and article in website pages.
• The overall use across a piece of communication should be restrained to the proportions shown in the charts.
• The accent colour (and its tints) is used for colouring Sidelights, charts and icons.
• Neutral colours and their tints can be used over a larger area as a background.
• Our iconic vivid ActionAid Red is a strong brand attribute that works well when combined with a refined, charcoal and white. Together, these colours create a sophisticated colour palette that supports the brand imagery and allows the message to be the hero in all communications.

• AAH-Red Print C0 M100 Y100 K0 Web R255 G0 B0 HEX #FF0000 Pantone 485

• AAH-Charcoal Print C75 M65 Y60 K80 Printed texts C0 M0 Y0 K100* Web R19 G23 B25 HEX #131719 Pantone Black 7

• AAH-White Print C0 M0 Y0 K0 Web R255 G255 B255 HEX #ffffff

• • When using AAH-Charcoal on printed text please use AAH-Charcoal 100% black to obtain better results and legibility in print.
• Tints of our primary colour palette could be used when design needs differentiation (example use: online pages for link and buttons CSS status, illustrations, icons, infographics, charts and diagrams).
• Two shades of grey have been chosen to support the primary colour palette.The neutral colour palette is used less prominently and to add flexibility to our communications.

• AAH-Warm Grey Print C0 M10 Y20 K45 Web R148 G133 B118 HEX #948576 Pantone Warm Gray 9

• AAH-Light Warm Grey Print C0 M5 Y10 K25 Web R193 G182 B171 HEX #c1b6ab Pantone Warm Gray 4

• Tints of our secondary colour palette could be used when design needs differentiation and depth (example use: backgrounds, online pages for link and buttons CSS status, illustrations, icons, infographics, charts and diagrams).
• The accents colours are used as highlights. Colours should be combined and contrasted rather than used all together. In the following pages, we will provide a spectrum of options to be used in various ways in combination with our primary brand colours.
• AAH-Purple Print C50 M80 Y30 K20 Web R113 G58 B96 HEX #713a60 Pantone 512

• AAH-Pink Print C5 M30 Y15 K0 Web R236 G177 B182 HEX #ecb1b6 Pantone 707

• AAH-Coral Print C0 M65 Y60 K0 Web R248 G107 B89 HEX #f86b59 Pantone 171

• AAH-Yellow Print C0 M30 Y95 K0 Web R255 G175 B36 HEX #ffaf24 Pantone 1235

• Tints of our accents colour palette could be used when design needs differentiation and depth (example use: backgrounds, online pages for link and buttons CSS status, illustrations, icons, infographics, charts and diagrams).

• AAH-Blue Print C80 M40 Y15 K5 Web R29 G114 B158 HEX #1d729e Pantone 300

• AAH-Green Print C65 M30 Y70 K15 Web R80 G120 B85 HEX #507855 Pantone 342

• AAH-Turquoise Print C50 M0 Y30 K0 Web R105 G199 B183 HEX #69c7b7 Pantone 325

• AAH-Steel Print C50 M15 Y20 K0 Web R112 G173 B186 HEX #70adba Pantone 631

• For all our communication, we use our primary colour palette following the percentage as shown in the chart.
• White adds functional support (for the Sidelight, hightlight and text).
• Black is used with restraint to avoid our communication looking too gloomy and discouraging.
• Use our primary colour palette consistently.
• Colour the Sidelight to create contrast with the background.
• For less prominent communications, the overall use of colours across a piece of communication should be restrained to the proportions shown in the chart.
• This secondary use is indicated to use to create variations in design literature communications like reports, newsletters, brochure with many pages, and article in website pages.
• Pick up one accent colour to use together with our primary colours and neutral colours.
• Carry the accent colour all over the specific page/story to create a sophisticated and elegant design.
• If in doubt, always stick to our primary colour palette.

Typography

• Lato and Roboto Slab are our brand fonts. They’re bold, clean, friendly and – most importantly – clear.
• Lato is our primary design typeface. We think it makes for particularly impactful headings. Where appropriate, Lato can be used for small copy too.
• Lato is a bit too heavy and monotone for body copy, so we use Roboto Slab to write our long text and paragraphs and add a more intimate touch, while text is easier to read, scan and assimilate.
• Both Lato and Roboto Slab look amazing in Greek and can be used all over our print and online communications.
• We don’t use any italics in our communication. The only “slanted” element is our Sidelight, the rest of our communication is straightforward, sharp and honest.
• Headline The largest size. The primary message. Lato Heavy. Size 20pt. Leading 24pt.
• Sub headline & Introductions A smaller size. The secondary message. Lato Semibold, 12pt. Leading 14pt.
• Body text and long paragraphs The standard text size, for sections of copy. Roboto Slab Light & Regular, 10pt. Leading 14pt.
• Legalese or small copy Small text, for legalise and notes. Lato Regular, 7pt. Leading 10pt.
• When selecting font sizes, be guided firstly by legibility and accessibility followed by what works best for the typographic hierarchy.
• To give movement to the page, text is always left or right aligned and never justified.
• Lato will be used for all headlines and subheadlines. It will ensure a bold and graphic aesthetic for all our communications.
• Lato is a San serif typeface family designed by Warsaw-based designer Łukasz Dziedzic The Lato family was published under the open-source Open Font License by his foundry tyPoland, with support from Google.
• It is available for download via an open source licence: http://www.latofonts.com/lato-free-fonts/#download
• Geometric. Sans Serif.
• Compatible with the signature.
• Wide range of weights.
• Ensure a bold aesthetic.
• Familiarity.
• Lato Heavy ΑαΒβΓγΔδΕεΖζ 1234567890
• These are the weights available to ensure that a clean hiearchy is maintained throughout all communications.
• Lato Heavy Lato Semibold Lato Regular Lato Light
• Roboto Slab has been chosen to add differentiation to our message. The Greek version of this typeface has friendly and open curves which makes the font extremely readable and legible for long copy text.
• Roboto Slab is a free, open-source slab serif typeface designed by Christian Robertson.
• It is available for download via an open source licence: https://fonts.google.com/specimen/Roboto+Slab
• Geometric. Slab Serif.
• Clarity and legibility (natural reading rhythm).
• Clean and modern look.
• Friendly personality.
• Roboto Slab Regular ΑαΒβΓγΔδΕεΖζ 1234567890
• These are the weights available to ensure that a clean hierarchy is maintained throughtout all communications.
• Roboto Slab Bold is a bit too chunky for body text, but it has been included for digital use in case the differentiation between Light and Regular on retro-illuminated screens is not visible.
• Roboto Slab Bold Roboto Slab Regular Roboto Slab Light
• The highlight headlines should be used in all main headlines and titles. For better legibility and impact, headlines need to have a journalistic style: succinct and direct (maximum of 3 lines).
• Headlines are set in Lato Heavy sentence case.
• No uppercase is used in our communication (we don’t shout).
• The headlines can be ranged left and right aligned. Do not center align the Highlight Headlines.
• To determine the size of the highlight use a measurement based on the cap height (H) of the text (1/3 of H).
• Leading should be equal to 150% the point size of the text to allow lines to be slightly separated.
• If needed, kerning (spacing between characters) can be reduced up to -20pt.
• Highlight in black the “punchline” of the sentence, that should be at the beginning or at the end to create impact.
• Left aligned. Punchline at the end.
• 1/3 of H
• In the example, text is set at 25pt so the leading is 37,5pt. The formula is: 25pt/100x150=37,5pt
• Right aligned. Punchline at the beginning.
• Maximum of 3 lines.
• Keep the headlines brief and straightforward. Focus on impact.
• In general, we suggest that the headline touches the Sidelight, to suggest a call-out.
• But there can be exceptions to this rule, as long as our communication creates a balanced layout and all the elements are connected and reinforce each other.
• Avoid same colour in 3 rows
• The Highlight Headlines are designed to create impact. Their effectiveness is in the usage of a punchline underlined using another colour.
• Do not cover the Sidelight with headlines
• The Sidelight is our distinctive brand element and for this reason needs to remain discernible.
• Main title of the article
• Sub-headlines don’t need highlight
• Do not use it for sub-headlines
• Highlight Headlines don’t need to be used on sub-headlines, or titles above body copy, for example inside a brochure.
• Roboto Slab is the font we use to give voice to people, using their own words.
• When faces can’t be shown, we need to make sure that the experience can be still narrated in a meaningful and respectful way.
• This is when we use our Quote Sidelight.
• The quote is set in Roboto Slab Light.
• The name of the speaker (or author) is set in Lato Heavy. All the text is center aligned.
• The quote is enclosed inside the Sidelight: for maximum impact it needs to be snappy and concise.
• The quote can be aligned left, right and center.
• The quote marks indicate the beginning of the sentence. They are positioned to follow the alignment of the text.
• The Greek quote marks «…» are used only in inline quotes, inside a copy text.
• Create dynamic and impactful compositions where the Quote Sidelight adds strength, kindness and meaning to the message.
• Inside the image
• Outside the image
• Alone on the page
• On the page with highlight headlines
• Inline quotes
• The Greek quote marks «…» are used in inline quotes, inside a copy text. If you need to emphasise part of the quote or the entire quote, please use the examples shown in this and previous pages.
• Use colour (or different font size) to differentiate the simple facts from the copy. Separate different quotes with a continue stroke.
• In literature communication (brochures, reports, etc..) only one Sidelight can be displayed per spread.
• For more than one quote on the same spread use the simple quote format shown in this page. They are composed by: the quote marks, the quote in Roboto Slab Light and the author/speaker in Lato Heavy.
• Use simple quotes also along with the copy. If needed, change the alignment of the simple quotes to add movement/differentiation to the page.
• Sometimes quotes are slightly longer or the layout demands a more dynamic approach. In these circumstances, the original setting of the Quote Sidelight can be broken to create a more vibrant composition.
• Roboto Slab and Lato works well together to present numbers with facts and give relevance to our achievements.
• This is when we use our Facts Sidelight.
• The number is set in Lato Heavy.
• The facts are set in Slab Serif Light.
• Number and facts are enclosed inside the Sidelight: for maximum impact numbers need to be set bigger than texts. Text is short and concise.
• The text can be aligned left, right and center.
• For more than one fact on the same spread use the simple facts format shown in this page. Numbers are set in Lato Heavy, while copy is set in sentence case in Roboto Slab Light.
• Use colour (or different font size) to differentiate the simple facts from the copy. Separate facts with a continue stroke.
• The specific composition (number and copy in two different paragraphs) allows to add icons to effectively illustrate the facts, without changing the layout when icons are not available or required.
• Sometimes numbers are longer or the layout demands a more dynamic approach. In these circumstances, the original setting of the Facts Sidelight can be broken to create a more vibrant composition.
• Bold weights of type can easily establish priority and typographic hierarchy. Used sparingly*, bold weights can guide the reader through long or complicated documents.
• For longer feature articles (body text) we use Roboto Slab Thin or Regular. To underline concepts or words, we use Roboto Slab Regular (if copy is set in Thin) or Bold (if copy is set in Regular).
• • Bold text is less readable than type of regular weight. So avoid bolding an entire paragraph or too many words.
• Use bold weights to underline one word or a short running text that alone has a logic sense.
• Too much bold text on a paragraph or on a page can be distracting and even disruptive to the reading process. Using bold text sparingly makes text more effective.

Logo Usage

• The Colour Positive Logotype is our preferred logo and should be used wherever possible.
• The White Negative Logotype is used in most of our coloured and textured backgrounds/imagery.
• The logo can sit on imagery, but avoid any busy areas of the image within the clear space area.
• To make sure the logo has maximum standout, always refer to the clear space illustrated here which prevents other graphic elements from interfering with the integrity of the logotype.
• The clear space around the logotype is the height of the ‘exclamation mark’, as shown on the right.
• In print and digital communications the ActionAid logotype must always be legible. The logotype should never appear smaller than the stated values.
• Minimum print size 40 mm
• Minimum digital size 90px
• Always protect the integrity and appearance of our logotype. No modification or reinterpretation of the logo should occur as per the illustrated examples.
• Do not colourise
• Do not colourise the exclamation mark
• Do not tilt or rotate
• Do not distort or transform
• Do not outline
• Do not use transparency
• Do not apply effects
• Do not use on busy backgrounds
• When a partner brand is leading a partnership, we will use their own visual identity on materials. Share our brand kit and the section with our logo guidelines to ensure correct placement and legibility of the AAH logo. The tagline can be omitted.
• The partner’s guidelines will dictate where our logo will sit.
• Some text may sit next to our logo such as: ‘Στηρίζοντας το έργο της’. This helps to clarify the relationship between ActionAid Hellas and the specific project or/and intiative. The text needs to be visible and legible without being more relevant than the AAH logo. Left aligned text set in Lato Regular In the example the text is set at 8pt and AAH-Charcoal.
• Respect the minimum clear space

Tone And Messaging

• Our new identity aims to unify the different aspects of the ActionAid Hellas brand in one, distinctive voice and involve in our mission a larger audience.
• Our purpose is to show that change is possible, together.
• The ActionAid Hellas brand identity is the tangible expression of all that we stand for. It embodies what we do, how we do it and why we are a trusted partner across the world and throughout the communities we serve.
• Dynamic Harmonious change Deep Memorable These principles drive us and our communication. Always refer to these values when you create communication and marketing materials for ActionAid Hellas.
• Change is Dynamic Take place on many levels. Inspire different activities. Represent different voices. Growth in the future. Agile layout. Adapt to different media. Speak many languages as one.
• Change is Deep Talk about real people. Touch real lives. Influence thoughts. Overcome opinion with facts. Give perspective to facts. Use real images. Dignify voices. Use hierarchy (vs flat communication). Follow a narrative.
• Change is Memorable Heal wounds. Forge memories (comparable). Give power. Transform forever. Powerful and iconic design. Engage on many levels (look, feel, touch). Straightfoward message. Simple and focused. Inspire action.
• Change is Harmonic Happen together. Connect people. Adjust to people’s strength. Follow a methodology. Slow but consistent. Consistent among different media. Elements are balanced. Composition supports conversation. Adjust to audience and to the message.
• Images define the tone οf voice of our communications. Create a meaningful narrative: the image needs to be connected to the message.

Brand Values

• The Principles of our Communication Dynamic Harmonious change Deep Memorable These principles drive us and our communication. Always refer to these values when you create communication and marketing materials for ActionAid Hellas.
• Change is Dynamic The meaning Take place on many levels. Inspire different activities. Represent different voices. Growth in the future. In communication Agile layout. Adapt to different media. Speak many languages as one.
• Change is Deep The meaning Talk about real people. Touch real lives. Influence thoughts. Overcome opinion with facts. In communication Give perspective to facts. Use real images. Dignify voices. Use hierarchy (vs flat communication). Follow a narrative.
• Change is Memorable The meaning Heal wounds. Forge memories (comparable). Give power. Transform forever. In communication Powerful and iconic design. Engage on many levels (look, feel, touch). Straightfoward message. Simple and focused. Inspire action.
• Change is Harmonic The meaning Happen together. Connect people. Adjust to people’s strength. Follow a methodology. Slow but consistent. In communication Consistent among different media. Elements are balanced. Composition supports conversation. Adjust to audience and to the message.
• Always respect our principles: dynamic, deep, memorable and harmonious.
• Key images should, as far as possible, capture and portray the core brand values of ‘change’: dynamic, deep, memorable and harmonic.

Visual Style

• Always refer to these values when you create communication and marketing materials for ActionAid Hellas.
• Agile layout.
• Adapt to different media.
• Speak many languages as one.
• Give perspective to facts.
• Use real images.
• Dignify voices.
• Use hierarchy (vs flat communication).
• Follow a narrative.

Iconography

• Icons use the same principles as our illustrations.
• Geometric Icons are based on geometric shapes.
• Bold and simple Solid style and one colour icons are preferred. Too many details in an icon makes the element difficult to manage with colour and size reduction.
• Use our colour system Limit the use of colours to just one colour per icon. Create tints of the same colour for differentiation.
• Other set of icons that follow our principles are: https://fontawesome.com/ https://materialdesignicons.com/ (solid style)
• Icons are part of the set of pictograms Entypo, designed by Daniel Bruce http://entypo.com/
• Icons can be added to indicate the subject of the facts. For more examples of illustrations and icons, please see page 93.
• Tints of our primary colour palette could be used when design needs differentiation (example use: online pages for link and buttons CSS status, illustrations, icons, infographics, charts and diagrams).
• Tints of our secondary colour palette could be used when design needs differentiation and depth (example use: backgrounds, online pages for link and buttons CSS status, illustrations, icons, infographics, charts and diagrams).
• Tints of our accents colour palette could be used when design needs differentiation and depth (example use: backgrounds, online pages for link and buttons CSS status, illustrations, icons, infographics, charts and diagrams).

Layout And Composition

• Agile layout.
• Adapt to different media.
• Speak many languages as one.
• Use hierarchy (vs flat communication).
• Follow a narrative.
• Elements are balanced.
• Composition supports conversation.
• Adjust to audience and to the message.
• Cut through the clutter to produce a vibrant, bold and unique identity.
• Follow a framework of meaning and logic (narrative).
• Eliminate distracting references and focus on impact.
• Always respect our principles: dynamic, deep, memorable and harmonious.
• The Sidelight is a very flexible and dynamic element of our brand assets.
• Its key function is to add movement, focus and colour to all our communications.
• It is usually coloured in solid red (not a gradient or transparency). For more colour suggestions, see page 51.
• The Sidelight needs to be used for its entire shape, to be a recognisable element of our communication. It can be scaled down and up proportionally to add action, depth, focus and colour to the layout.
• Scale up on vertical layout (suggestions) to add movement, colour and depth to the page
• Scale up on horizontal layout (suggestions) to break the white space, add colour and focus to the page
• The following percentages can be used as a starting point when determining the Sidelight sizes for various ratios across both print and digital formats.
• Maximum covering areas for print and digital layouts (suggestions) of the layout area: 55-60%, 25-30%, 30-35%. These are approximations only and designer discretion should be applied.
• Additionally a combination of other layout variables such as margins and amount of content should be taken into consideration.
• The Sidelight can’t be used too small and transformed into an irrelevant decorative element over the layout. For decorative use of the Sidelight, please see the Illustration section on page 89.
• Minimum covering areas for print and digital layouts (suggestions): 35% of the layout area, 20% of the layout area, 25% of the layout area. These are approximations only and designer discretion should be applied.
• Extreme formats (too tight, too short layouts) can be difficult to execute and there may need to be a bit of compromise.
• Only in these uncommon circumstances, the Sidelight can be scaled up and cropped following specific rules: Approximately half of the Sidelight should be visible within the layout. Two consecutive corners must always be visible to avoid the Sidelight shape from becoming unrecognisable.
• Never enlarge the Sidelight so much that you cannot recognise it.
• Never use the Sidelight at a small size as it becomes ineffective and simply decorative.
• Crop two consecutive corners to create interesting narratives.
• Some Sidelights can be used to create interesting optical solutions between two or more pages/layouts.
• The positioning is flexible as long as it creates a dynamic, distinctive and harmonious layout.
• The Sidelight must be recognisable.
• Achieve harmony and our memorable look by keeping the layout simple and dynamic.
• Do not rotate
• Do not cover faces and other elements of focus
• Do not lock text in multiple Sidelights
• Do not change proportions
• Do not use effects or transparency
• Do not scale it too big or too small
• Do not use the Sidelight to to cut images
• Use the Sidelight to create dynamic, decorative compositions and patterns. For more examples, see page 89.
• Do not use more than once in a single spread
• Do not use more than once in a single layout
• In this case, the use of the Sidelight is better only one time over the entire communication/page, for example, to emphasize information, a quote, or a fact among other elements.
• The over-use of the Sidelight in the same page could just create repetitive and pedantic communication.

Co Branding

• When a partner brand is leading a partnership, we will use their own visual identity on materials. Share our brand kit and the section with our logo guidelines to ensure correct placement and legibility of the AAH logo. The tagline can be omitted. The partner’s guidelines will dictate where our logo will sit.
• In these cases the tagline can be omitted.
• When a project is not owned just by AAH and a new identity, different from AAH, must be applied.
• Coalition visual identity applied
• Both have equal prominence
• Some text may sit next to our logo such as: ‘Στηρίζοντας το έργο της’. This helps to clarify the relationship between ActionAid Hellas and the specific project or/and intiative. The text needs to be visible and legible without being more relevant than the AAH logo. Left aligned text set in Lato Regular In the example the text is set at 8pt and AAH-Charcoal.
• Respect the minimum clear space
• The tagline can be omitted

Brand Partnerships

• When a partner brand is leading a partnership, we will use their own visual identity on materials.
• Share our brand kit and the section with our logo guidelines to ensure correct placement and legibility of the AAH logo. The tagline can be omitted.
• The partner’s guidelines will dictate where our logo will sit.
• In this case, a project is not owned just by AAH and a new identity, different from AAH, must be applied.
• Coalition visual identity applied
• Partner and AAH logo both have equal prominence
• Some text may sit next to our logo such as: ‘Στηρίζοντας το έργο της’.
• This helps to clarify the relationship between ActionAid Hellas and the specific project or/and intiative.
• The text needs to be visible and legible without being more relevant than the AAH logo.
• Left aligned text set in Lato Regular In the example the text is set at 8pt and AAH-Charcoal.
• The tagline can be omitted
• Respect the minimum clear space

Additional Properties