Alpha Phi Alpha

Official Websites

• https://apa1906.net
• http://www.apa1906.net
• http://www.alpha-phi-alpha.com

Brand Guidelines

2014

Brand Summary

Mission

• Alpha Phi Alpha Fraternity develops leaders, promotes brotherhood and academic excellence, while providing service and advocacy for our communities [^1].

Core Values

• leadership
• brotherhood
• academic excellence
• service
• advocacy
• knowledge
• achievement
• unity
• diversity
• resourcefulness
• honesty
• authenticity
• consistency
• clarity
• tradition
• heritage
• excellence
• value
• promise
• character
• genuine

Target Audience

• Members of Alpha Phi Alpha Fraternity, partners, communities served, and broader audiences engaged through communication materials and campaigns [^2].

Personality Traits

• resourceful
• diverse
• united
• honest
• authentic
• clear
• consistent
• mission-focused
• genuine
• imaginative
• hip
• irreverent
• tradition-oriented

Visual Identity Overview

• The visual identity centers on a heraldic crest and shield, gold and black color palette, clear and consistent logo usage, professional typography (Gotham and Celeste), authentic photography, and a formal, traditional style emphasizing knowledge, achievement, and unity [^3].

Categories

Brand Voice

• The overall tone of our communications remains the same.
• Our Vision is to present clear and consistent communications. When united visually, Alpha’s communications present the many parts of our organization as one strong whole, one united team–one vast, resourceful, and diverse fraternity.
• Our brand is the foundation for how we look, feel and sound throughout our relationship with our members. Our brand is expressed through core visual and verbal elements in communications.
• Brand communications should provide information, demonstrate long-term value and set expectations.
• Campaign communications should create a buzz, increase awareness and spark interest.
• Voice: The unique personality of a company that is expressed in its visual and verbal communications.

Brand Imagery

• Photography is one way we tell a story in our brand’s visual language. We’ve adapted our approach for capturing images; our style is distinct and compelling, and we work hard to keep it unique.
• Our photography style is inspired by our brand character, and it’s authentic to us. We use photography because it is flexible, and lets us craft stories that are inspiring, clear and honest. As long as images are used thoughtfully, they can communicate in nearly endless ways across audience segments and product lines.
• Our brand photography is built on specific traits that help keep our images consistent and on brand across all subjects and situations Honest environments Balance in composition The objects and environments The elements of our visual we use to create our visual story storytelling, whether it’s the talent, props, or environment, are meant to feel natural and not staged. Some images are composed purposefully to feel open and airy, allowing for overlays of text and graphic elements. Our images are warm and authentic, taking advantage of natural light sources. Artificial light is used only when necessary, and only to produce a natural feel.
• Candid and authentic situations Our photos capture our subjects “in the moment,” not in a pose. We want our imagery to be honest and true to the nature of the topic. We create a natural situation and let it unfold on camera, to cultivate and capture genuine reactions.
• Our photographs create a unique point of view that audiences can relate to. The Brand Photo Library offers a wide range of photography so you can select images that are meaningful and appropriate to your subject matter.
• Use of photography isn’t restricted in our communications, but there are a few ways we can use our images to have the greatest impact.
• Our brand photography is designed to tell a complete story in one photograph, and our evolving photo library on Brand Source will reflect that. It’s okay to combine two images to visualize a story, but this should be done sparingly and is best used in interior spreads.
• Many of our photos are shot so that type and graphic elements can be placed within the open space of the images. This adds depth and dimension to our layouts.
• Cropping When capturing images, we often shoot as wide as possible so that a maximum amount of the image is available for cropping. Other photos may be cropped in-camera for a tighter composition. How you crop an image can have a tremendous impact on the story you’re telling.
• Cropping an image can bring focus to a subject and communicate a message more effectively.
• An image with one subject can be used to create different moods. A pulled-back shot tells a complete story about the person. A tight crop feels active: it lets you focus on an expression or a detail, or create a sense of wonder about what’s just outside the frame.
• Cropping a photograph purposefully increases its flexibility within our library, and provides us with options to help tell the visual story.
• Sometimes a single image contains a visual story with multiple points of potential focus. By cropping the image, we can isolate an action, change an object’s scale, or give a detail new meaning or emphasis.

Color Palette

• Our color palett helps partners identify us at a glance, and the way we use color sets the mood for each of our pieces.
• When choosing colors, always lead with one or more colors from the bright palette. This brings an energy and vibrancy to our communications. Balance those hues with colors from the warm and neutral palettes. For consumer- facing designs, use more colors from the bright palette. For a sophisticated feel in Brother to Brother (B2B) communications, use more colors from the warm palette.
• The shield graphic is always Alpha Gold (PMS 132).
• Select backgrounds that will maximize contrast and allow the brandmark to stand out.
• Secondary option available when production limitations prevent you from using full color. Only the following approved one-color option for the brandmark: black and white (reversed).
• When placing the logo over a solid color, make sure that the color of the logo is in sufficient contrast to the background to ensure visibility. THE FULL-COLOR VERSION OF THE LOGO SHOULD BE USED WHENEVER POSSIBLE
• WHEN IT IS NOT POSSIBLE TO USE A FULL-COLOR VERSION, THE LOGO CAN BE REVERSED
• Alpha’s primary graphic identity colors for print are Pantone® 132, Pantone® Black 6. Equivalent color formulas for digital media are also provided below.
• PANTONE® 132 CMYK C0 M28 Y100 K30 R0 G47 B108
• PANTONE® PROCESS BLACK CMYK C35 M31 Y32 K100 R255 G255 B255
• This supplementary set of colors has been selected to complement the primary color palette.
• PANTONE® 4535 CMYK C0 M4 Y30 K11 R231 G216 B172
• PANTONE® 400 CMYK C0 M3 Y6 K16 R218 G211 B204
• PANTONE® 168 CMYK C0 M57 Y100 K59 R126 G67 B0
• Alpa’s primary graphic identity colors for digital media are Dark Golden Rod (#B8860B) and Black (#000000). Equivalent color formulas for print media may be found on pages 17 and 18.
• BLACK RGB R255 G255 B255 HTML #000000
• PMS 132 RGB R184 G134 B11 HTML #B8860B
• BLONDE RGB R250 G240 B190 HTML #FAF0BE
• PANTONE® 400 RGB R218 G211 B204 HTML #DAD3CC
• WHITE RGB R255 G255 B255 HTML #000000

Typography

• When used thoughtfully, typography becomes a powerful brand tool that can add visual meaning to what is communicated. Alpha’s typography communicates clearly and cleanly while remaining flexible in a wide range of situations.
• Gotham is our primary typeface. It has a variety of weights and styles, but we use the Book and Light versions most often. This might seem limiting, but we can use it to our advantage to focus communications and keep things simple. We can also use type size to make the same weight feel heavier or lighter.
• Gotham Narrow is available for situations where space is limited, such as tables and legal disclosure.
• The Gotham font family may be purchased at Hoefler & Frere-Jones. We are currently using version 2.1.
• If you communicate primarily through Pages and Microsoft Word, use the default font Centry Gothic.
• Gotham should be reserved largely for professional designers and firms who use Adobe Creative Suite and who focus on developing external communications for Alpha Phi Alpa’s various audiences.
• Light USES: Headlines and subheads
• Bold USES: Subheads, infographics and navigation system
• Book USES: Headlines, subheads, sidebar body copy and info-graphics
• Black USES: Subheads, infographics and navigation system
• Celeste is our secondary typeface. It’s narrower than Gotham, and comes in Regular and Bold weights. This serif typeface also includes small caps and old-style numerals.
• The Celeste font family may be purchased at FontShop. We are currently using the Pro 1 Open Type version.
• If you communicate primarily through Pages and Microsoft Word, use the default font Garmond or Palatino. Celeste should be reserved largely for professional designers and firms who use Adobe Creative Suite and who focus on developing external communications for Alpha Phi Alpha’s various audiences.
• Regular USES: Headlines and subheads
• Bold USES: Headlines, subheads, sidebar body copy and infographics
• Regular USES: Subheads, infographics and navigation system
• Whenever possible, use the body copy type settings indicated below. Headlines, subheads and other examples are just suggestions.
• HEADLINES & SUBHEADS: GOTHAM LIGHT AND BOOK The best of Alpha1 Gotham Light; size: 50 pt.; leading: 52 pt.; tracking: –30
• SIDEBAR BODY COPY & SUBHEADS: GOTHAM BOOK 1 Gotham Book; size: 14 pt.; leading: 16 pt.; tracking: –25 2 Gotham Book; size: 9 pt.; leading: 12 pt.; tracking: –25 Note: This is our standard sidebar body copy size. 3 Gotham Book; size: 12 pt.; leading: 14 pt.; tracking: –25
• UBHEADS, INFOGRAPHICS & NAVIGATION SYSTEM: GOTHAM BOOK, MEDIUM, AND BOLD 1 Gotham Bold and Book; size: 10 pt.; leading: 12 pt.; tracking: –25 3 Gotham Medium; size: 14 pt.; leading: 15 pt.; tracking: –25 4 Gotham Book and Bold; size: 9 pt.; tracking: –25
• MAIN BODY TEXT & PULL QUOTES: CELESTE REGULAR AND BOLD 1 Celeste Regular; size: 36 pt.; leading: 36 pt.; tracking: 0; proportional lining numerals 2 Celeste Regular; size: 10 pt.; leading: 12 pt.; tracking: 0; proportional old-style numerals 3 Celeste Bold Italic; size: 24 pt.; leading: 25 pt.; tracking: 0
• MAIN BODY TEXT & SUBHEADS: CELESTE REGULAR AND SMALL CAPS 4 Celeste Small Caps Bold and Celeste Regular; size: 10 pt.; leading: 12 pt.; tracking: 0; proportional old-style numerals Note: This is our standard body copy size.

Logo Usage

• The vertical identity, as shown, is the primary visual element for Alpha Phi Alpha brand identity and must appear on all official Alpha communications. The tagline “Mission Focused” may be modified only (i.e., the colors must remain the same and only the words “Mission Focused” may be replaced with a chapter name. However, the shield icon may be used as a standalone element. This and the other identities shown in this manual are available in various electronic formats appropriate to one’s usage needs at www.APA1906.net.
• Alternatively, the horizontal identity and wordmark may also be used. They are the secondary and tertiary visual elements for the foundation identity and may not be modified in any way (i.e., the colors must remain the same, no iconic elements may be added to the wordmark and the words “Mission Focused” may not be replaced with other text).The horizontal identity and wordmark are well suited for landscape formats or where vertical space is limited.
• All of Alpha’s brand identities should have some “white space” or breathing room sUr­rounding the identity so that it does not feel too crowed or busy. If one takes the letter “A” from “Alpha” and positions it around the maximum extent of the graphical and textual elements of the identity, this will provide a general idea of how much space should be around the brand identity. The size of the “A” should be relative to the size of “Alpha Phi Alpha” on the identity.
• The minimum height for the?? verti­cal lockup is 3/4 inch, unless produc­tion quality compromises legibility. Then, size should be increased to ensure the tagline is clear.
• It’s important that the use of our identity be consistent with what is outlined in the previous pages. Below are a few examples of practices to avoid.
• Reverse Alpha’s Name when color logo is used.
• Do not outline the logo.
• Never stretch, skew, condense or change the dimensions of the identity in any way.
• Never alter the identity’s typefaces.
• Do not rearrange the type and brandmark alignment, or alter elements within a lockup.
• Never place Logo on Red background.
• Do not place icons, photos or other elements within the clear space.
• Do not apply a gradient, allow background color to compete with or fill in the brandmark.
• The shield should be produced in color whenever possible, using the following color. Shield: Alpha Gold (PMS 132). Select backgrounds that will maximize contrast and allow the brandmark to stand out. The shield graphic is always Alpha Gold (PMS 132).
• Secondary option available when production limitations prevent you from using full color. Only the following approved one-color option for the brandmark: black and white (reversed).
• When placing the logo over a solid color, make sure that the color of the logo is in sufficient contrast to the background to ensure visibility. THE FULL-COLOR VERSION OF THE LOGO SHOULD BE USED WHENEVER POSSIBLE.
• WHEN IT IS NOT POSSIBLE TO USE A FULL-COLOR VERSION, THE LOGO CAN BE REVERSED.
• Alpha’s primary graphic identity colors for print are Pantone® 132, Pantone® Black 6. Equivalent color formulas for digital media are also provided below.
• Alpa’s primary graphic identity colors for digital media are Dark Golden Rod (#B8860B) and Black (#000000). Equivalent color formulas for print media may be found on pages 17 and 18.

Tone And Messaging

• The overall tone of our communications remains the same.
• Our Vision is to present clear and consistent communications. When united visually, Alpha’s communica­tions present the many parts of our organization as one strong whole, one united team–one vast, resource­ful, and diverse fraternity.
• Our brand is the foundation for how we look, feel and sound throughout our relationship with our members. Our brand is expressed through core visual and verbal elements in communications.
• Brand communications should provide information, demonstrate long-term value and set expectations.
• A campaign is promotional, intended to engage our target audience and deliver a focused, compelling message. It should share the brand’s DNA, but may carry a slightly elevated identity and voice.
• Campaign communications should create a buzz, increase awareness and spark interest.
• Our brand is the total experience we create: from the way we look to how we speak and act. Our brand is communicated through everything that reaches our audiences, including our name, logo, visual appearance and tone
• Describing a company in human characteristics such as imaginative, hip, irreverent or genuine. Personality traits should influence the tone of a company’s prepared communications as well as the behavior of the people who represent the brand — its employees.
• The unique personality of a company that is expressed in its visual and verbal communications.

Brand Values

• Our values are what we believe. They’re the heart of who we are, and they guide how we think and act as an organization.

Visual Style

• The vertical identity, as shown, is the primary visual element for Alpha Phi Alpha brand identity and must appear on all official Alpha communications. The tagline “Mission Focused” may be modified only (i.e., the colors must remain the same and only the words “Mission Focused” may be replaced with a chapter name. However, the shield icon may be used as a standalone element. This and the other identities shown in this manual are available in various electronic formats appropriate to one’s usage needs at www.APA1906.net.
• Alternatively, the horizontal identity and wordmark may also be used. They are the secondary and tertiary visual elements for the foundation identity and may not be modified in any way (i.e., the colors must remain the same, no iconic elements may be added to the wordmark and the words “Mission Focused” may not be replaced with other text).The horizontal identity and wordmark are well suited for land­scape formats or where vertical space is limited.
• All of Alpha’s brand identities should have some “white space” or breathing room sUr­rounding the identity so that it does not feel too crowed or busy. If one takes the letter “A” from “Alpha” and positions it around the maximum extent of the graphical and textual elements of the identity, this will provide a general idea of how much space should be around the brand identity. The size of the “A” should be relative to the size of “Alpha Phi Alpha” on the identity.
• The minimum height for the?? verti­cal lockup is 3/4 inch, unless produc­tion quality compromises legibility. Then, size should be increased to ensure the tagline is clear.
• It’s important that the use of our identity be consistent with what is outlined in the previous pages. Below are a few examples of practices to avoid.
• DON’T Reverse Alpha’s Name when color logo is used.
• DON’T Do not outline the logo.
• DON’T Never stretch, skew, condense or change the dimensions of the iden­tity in any way.
• DON’T Never alter the identity’s typefaces.
• DON’T Do not rearrange the type and brandmark alignment, or alter ele­ments within a lockup.
• DON’T Never place Logo on Red back­ground.
• DON’T Do not place icons, photos or other elements within the clear space.
• DON’T Do not apply a gradient, allow back­ground color to compete with or fill in the brandmark.
• Our color palett helps partners identify us at a glance, and the way we use color sets the mood for each of our pieces.
• When choosing colors, always lead with one or more colors from the bright palette. This brings an energy and vibrancy to our communications. Balance those hues with colors from the warm and neutral palettes. For consumer- facing designs, use more colors from the bright palette. For a sophisticated feel in Brother to Brother (B2B) communications, use more colors from the warm palette.
• The shield should be produced in color whenever possible, using the following color Shield: Alpha Gold (PMS 132)
• Select backgrounds that will maximize contrast and allow the brandmark to stand out. The shield graphic is always Alpha Gold (PMS 132).
• Secondary option available when production limitations prevent you from using full color. Only the following approved one-color option for the brandmark: black and white (reversed).
• When placing the logo over a solid color, make sure that the color of the logo is in sufficient contrast to the background to ensure visibility. THE FULL-COLOR VERSION OF THE LOGO SHOULD BE USED WHENEVER POSSIBLE
• WHEN IT IS NOT POSSIBLE TO USE A FULL-COLOR VERSION, THE LOGO CAN BE REVERSED
• Alpha’s primary graphic identity colors for print are Pantone® 132, Pantone® Black 6, . Equivalent color formulas for digital media are also provided below.
• This supplementary set of colors has been selected to complement the primary color palette.
• Alpa’s primary graphic identity colors for digital media are Dark Golden Rod (#B8860B) and Black (#000000). Equivalent color formulas for print media may be found on pages 17 and 18.
• When used thoughtfully, typography becomes a powerful brand tool that can add visual meaning to what is communicated. Alpha’s typography communicates clearly and cleanly while remaining flexible in a wide range of situations.
• Gotham is our primary typeface. It has a variety of weights and styles, but we use the Book and Light versions most often. This might seem limiting, but we can use it to our advantage to focus communications and keep things simple. We can also use type size to make the same weight feel heavier or lighter.
• Gotham Narrow is available for situations where space is limited, such as tables and legal disclosure.
• The Gotham font family may be purchased at Hoefler & Frere-Jones. We are currently using version 2.1.
• If you communicate primarily through Pages and Microsoft Word, use the default font Centry Gothic.
• Gotham should be reserved largely for professional designers and firms who use Adobe Creative Suite and who focus on developing external communications for Alpha Phi Alpa’s various audiences.
• Celeste is our secondary typeface. It’s narrower than Gotham, and comes in Regular and Bold weights. This serif typeface also includes small caps and old-style numerals.
• The Celeste font family may be purchased at FontShop. We are currently using the Pro 1 Open Type version.
• If you communicate primarily through Pages and Microsoft Word, use the default font Garmond or Palatino. Celeste should be reserved largely for professional designers and firms who use Adobe Creative Suite and who focus on developing external communications for Alpha Phi Alpha’s various audiences.
• Whenever possible, use the body copy type settings indicated below. Headlines, subheads and other examples are just suggestions.
• HEADLINES & SUBHEADS: GOTHAM LIGHT AND BOOK The best of Alpha1 Gotham Light; size: 50 pt.; leading: 52 pt.; tracking: –30
• SIDEBAR BODY COPY & SUBHEADS: GOTHAM BOOK 1 Gotham Book; size: 14 pt.; leading: 16 pt.; tracking: –25 2 Gotham Book; size: 9 pt.; leading: 12 pt.; tracking: –25 Note: This is our standard sidebar body copy size. 3 Gotham Book; size: 12 pt.; leading: 14 pt.; tracking: –25
• UBHEADS, INFOGRAPHICS & NAVIGATION SYSTEM: GOTHAM BOOK, MEDIUM, AND BOLD 1 Gotham Bold and Book; size: 10 pt.; leading: 12 pt.; tracking: –25 3 Gotham Medium; size: 14 pt.; leading: 15 pt.; tracking: –25 4 Gotham Book and Bold; size: 9 pt.; tracking: –25
• MAIN BODY TEXT & PULL QUOTES: CELESTE REGULAR AND BOLD 1 Celeste Regular; size: 36 pt.; leading: 36 pt.; tracking: 0; proportional lining numerals 2 Celeste Regular; size: 10 pt.; leading: 12 pt.; tracking: 0; proportional old-style numerals 3 Celeste Bold Italic; size: 24 pt.; leading: 25 pt.; tracking: 0
• MAIN BODY TEXT & SUBHEADS: CELESTE REGULAR AND SMALL CAPS 4 Celeste Small Caps Bold and Celeste Regular; size: 10 pt.; leading: 12 pt.; tracking: 0; proportional old-style numerals Note: This is our standard body copy size.
• Photography is one way we tell a story in our brand’s visual language. We’ve adapted our approach for capturing images; our style is distinct and compelling, and we work hard to keep it unique.
• Our photography style is inspired by our brand character, and it’s authentic to us. We use photography because it is flexible, and lets us craft stories that are inspiring, clear and honest. As long as images are used thoughtfully, they can communicate in nearly endless ways across audience segments and product lines.
• Our brand photography is built on specific traits that help keep our 3 4 images consistent and on brand across all subjects and situations Honest environments Balance in composition The objects and environments The elements of our visual we use to create our visual story storytelling, whether it’s the tal­feel real and relate to the overall 1 ent, props, or environment, are subject matter. On-location en­meant to feel natural and not vironments are used to achieve staged. Some images are com­this whenever possible. Studio posed purposefully to feel open Natural lighting sets can be used as long as they and airy, allowing for overlays achieve a completely natural of text and graphic elements. Our images are warm and authen­feel. Other images may have a fuller tic, taking advantage of natural composition, showing richer light sources. Artificial light is used environments and backgrounds. only when necessary, and only to produce a natural feel. e 2 2 Candid and authentic situations Candid and authentic situations Our photos capture our subjects “in the moment,” not in a pose. We want our imagery to be hon­est and true to the nature of the topic. We create a natural situa­tion and let it unfold on camera, to cultivate and capture genuine reactions.
• Our photographs create a unique point of view that audiences can relate to. The Brand Photo Library offers a wide range of photography so you can select images that are meaningful and appropriate to your subject matter.
• Use of photography isn’t restricted in our communications, but there are a few ways we can use our images to have the greatest impact.
• Our brand photography is designed to tell a complete story in one photograph, and our evolving photo library on Brand Source will reflect that. It’s okay to com­bine two images to visualize a story, but this should be done sparingly and is best used in interior spreads.
• Many of our photos are shot so that type and graphic elements can be placed within the open space of the images. This adds depth and di­mension to our layouts.
• Cropping When capturing images, we often shoot as wide as possible so that a maximum amount of the image is available for crop­ping. Other photos may be cropped in-camera for a tighter composition. How you crop an image can have a tremendous impact on the story you’re telling.
• Cropping an image can bring focus to a subject and com­municate a message more ef­fectively.
• An image with one subject can be used to create different moods. A pulled-back shot tells a complete story about the per­son. A tight crop feels active: it lets you focus on an expression or a detail, or create a sense of wonder about what’s just out­side the frame.
• Cropping a photograph purposefully increases its flexibility within our li­brary, and provides us with options to help tell the visual story.
• Sometimes a single image contains a visual story with multiple points of potential focus. By cropping the image, we can isolate an action, change an object’s scale, or give a detail new meaning or emphasis.

Iconography

• Icons quickly make an object, an idea or a concept visual. We have two types of icons: primary business icons and infographic icons. Each set has specific guidelines on where and how it should be used.

Layout And Composition

• All of Alpha’s brand identities should have some “white space” or breathing room sUr­rounding the identity so that it does not feel too crowed or busy. If one takes the letter “A” from “Alpha” and positions it around the maximum extent of the graphical and textual elements of the identity, this will provide a general idea of how much space should be around the brand identity. The size of the “A” should be relative to the size of “Alpha Phi Alpha” on the identity.
• The minimum height for the?? verti­cal lockup is 3/4 inch, unless produc­tion quality compromises legibility. Then, size should be increased to ensure the tagline is clear.
• It’s important that the use of our identity be consistent with what is outlined in the previous pages. Below are a few examples of practices to avoid.
• Reverse Alpha’s Name when color logo is used.
• Do not outline the logo.
• Never stretch, skew, condense or change the dimensions of the iden­tity in any way.
• Never alter the identity’s typefaces.
• Do not rearrange the type and brandmark alignment, or alter ele­ments within a lockup.
• Never place Logo on Red back­ground.
• Do not place icons, photos or other elements within the clear space.
• Do not apply a gradient, allow back­ground color to compete with or fill in the brandmark.

Brand Architecture

• Our brand architecture organizes our brands based on how they are presented to our customers. Our architecture is divided into categories that guide how our brand identities should be managed. This structure helps ensure consistency in the presentation of our brand identities.

Brand Partnerships

• Lockups for partners and sponsorship
• ALPHA PHI ALPHA® Nationwide®
• ALPHA PHI ALPHA® Mission Focused
• IALPHA PHI ALPHA" -GE imagination at work
• ALPHA PHI ALPHA®
• Raytheon

Additional Properties