Belgard

📋 1 Guidelines

🔗 Connections

Sector

Consumer goods Construction

Region

Serbia

Guideline Year

2015

Language

English

Tags

Tourism Regional

Official Websites

Brand Guidelines

2015

Categories

Color Palette
  • Our color palette is sophisticated and modern. The diversity of hues are inspired by the outdoor world in which the brand lives, providing a wide range of possibilities. It feels aspirational and premium.
  • Use the PMS colors whenever possible in print applications. The CMYK colors can be used as an alternative to the PMS color in print. RGB values are for use in digital applications.
  • Primary Colors: Navy, cream and a silver/gray form the foundation for the Belgard brand.
  • Secondary Colors: Neutral earth tones create a natural feel and warmth in our applications.
  • Accent Colors: Brighter tertiary colors reflect the variety of hues found in outdoor living. These colors should be used sparingly as accents within an application.
  • PMS 295 C C 100 M 83 Y 44 K 45 R 10 G 41 B 81
  • PMS COOL GRAY 1 C C 9 M 5 Y 11 K 0 R 230 G 231 B 223
  • PMS 429 C C 38 M 28 Y 27 K 0 R 164 G 170 B 173
  • PMS 877 C Metallic for print only.
  • PMS 7540 C C 68 M 61 Y 59 K 46 R 65 G 65 B 66
  • PMS 416 C C 51 M 42 Y 52 K 10 R 125 G 127 B 116
  • PMS 463 C C 39 M 64 Y 91 K 34 R 132 G 78 B 40
  • PMS 465 C C 23 M 40 Y 74 K 3 R 194 G 149 B 89
  • PMS 453 C C 25 M 22 Y 43 K 0 R 195 G 186 B 152
  • PMS 209 C C 38 M 92 Y 58 K 37 R 117 G 37 B 61
  • PMS 7593 C C 25 M 86 Y 92 K 18 R 164 G 65 B 42
  • PMS 7495 C C 47 M 27 Y 96 K 5 R 145 G 153 B 60
  • PMS 2235 C C 81 M 9 Y 41 K 15 R 0 G 148 B 144
  • PMS 695 C C 27 M 65 Y 49 K 6 R 178 G 107 B 109
  • PMS 131 C C 14 M 45 Y 100 K 1 R 216 G 147 B 40
  • PMS 577 C C 36 M 10 Y 64 K 0 R 172 G 195 B 126
  • PMS 629 C C 38 M 3 Y 12 K 0 R 154 G 209 B 220
  • The primary color application to the logo should always be the Belgard navy and gray/ silver. This same color principle applies to instances when the icon and the wordmark are separated from each other in the same application.
  • The Belgard logo can also be reversed out of the primary blue and gray, and the secondary colors. Reverse logos on the secondary colors should be used sparingly and follow the appropriate clear space. Do not reverse the logo out of the cream in the primary palette.
  • Do not change the color relationships of the approved logos.
Typography
  • Primary Typeface: Cargan is a transitional serif typeface that works well for large headlines, body copy and certain small details in layout. It’s geometric look, variety of weights and approachable feeling make it the perfect pairing to the Belgard logo and will set the tone for all Belgard communications.
  • Secondary Typeface: Din next is a very structured, geometric typeface. It is flexible for large sizes, and small details. It also works well for body copy and numbers. Din Next is a secondary support typeface to Cargan and should never be the leading typeface in our consumer facing applications.
  • Accent Typeface: Din Next Condensed feels bolder and more technical than it’s parent typeface. It should be used for accents and very small details as a companion to Din Next to give our applications more texture and help in navigation.
  • Premium brand extensions receive a unique typographic treatment of the word mark. The Belgard Design Center is an example of this form of treatment. This brand extension has been created specifically for the design center to work in collateral and environmental signage. Future typographic brand extensions should follow these spatial and sizing relationships.
  • Belgard Wordmark: Use only the approved Belgard wordmark in typographic brand extensions.
  • Typographic Identifier: The identifier should be set in Din Next Medium, all caps, at .35X, where Xis the height of the Belgard wordmark. The identifier should be spaced below the word mark .50X. The tracking for these characters should be set at 240.
Logo Usage
  • The Belgard logo is extremely versatile in its form and application. It can be applied in the outline form for a more technical feeling, or as a solid form for a bolder, modern look. It may appear on white or light colors or reversed out of darker tones. The logo also works well over photography, or as a window to reveal product.
  • Use the solid logo at smaller sizes. for a bolder impression. in place of the outline form.
  • This treatment should be the most common application of the logo on light backgrounds.
  • At large and medium sizes. this treatment works well to showcase the image.
  • At smaller sizes. this treatment makes a bold impression on photography.
  • This treatment can work well as a diecut or graphic to showcase product or texture.
  • Subtle shifts in transparency can help lift the logo off the photo for a more dimensional feeling.
  • The logo symbol is such a strong design element BELGARD* that it can be separated from the word mark to create a more dynamic visual presence on a variety of applications. However, both the symbol and the word mark must be present in the same application if the symbol is being separated from the logo.
  • The word mark by itself should only be used in more premium applications. The symbol does not have to appear with the word mark, but may be included as a sign-off or secondary element.
  • Protecting the integrity of the mark is critical to building consistency within the brand. No copy or other graphics should appear in the clear space. The “®” and “TM” can be scaled down when the workmark, or logo, appears at a size greater than 4" wide or 3" tall.
  • The clear space for the logo is .25X, where Xis the height of the logo
  • The clear space for the symbol is .5X, where Xis the height of the symbol
  • The clear space for the wordmark is 1.25X, where Xis the height of the word mark
  • The following sizes have been established to provide a measure of consistency and legibility in standard print and digital applications. While there is no maximum size, the logo should be prominent but not overbearing. Remember to maintain the defined clear space.
  • .75 in
  • .6 in
  • 55 px
  • 40 px
  • .5 in
  • .25 in
  • 35 px
  • 15 px
  • .125 in
  • 10 px
  • Do not change the scale or spatial relationships on any part of the logo.
  • Do not change typefaces within the logo or lockup anything with the logo.
  • Do not change the color relationships of the approved logos.
  • Do not add gradients, drop shadows or unnecessary effects to the logo.
  • Do not skew, bend, rotate, warp, distort wrap or crop the logo.
  • Do not outline any part of the logo when used as an identifier.
  • Do not flip, reflect or reverse any part of the logo.
  • Do not place the logo on confusing or overly-busy backgrounds.
  • The primary color application to the logo should always be the Belgard navy and gray/ silver. This same color principle applies to instances when the icon and the wordmark are separated from each other in the same application.
  • The Belgard logo can also be reversed out of the primary blue and gray, and the secondary colors. Reverse logos on the secondary colors should be used sparingly and follow the appropriate clear space. Do not reverse the logo out of the cream in the primary palette.
Tone And Messaging
  • Belgard is both aspirational and inspirational. More than a beautiful. timeless and durable product­we will be synonymous with outdoor living.
  • The following six characteristics define us as individuals and as a brand. They are the qualities our customers use to describe our work.
Brand Values
  • Belgard is both aspirational and inspirational. More than a beautiful. timeless and durable product­we will be synonymous with outdoor living.
  • Only Belgard designs dependable, personalized products and services­turning creativity and craftsmanship into lasting outdoor spaces.
Visual Style
  • The Belgard logo is extremely versatile in its form and application. It can be applied in the outline form for a more technical feeling, or as a solid form for a bolder, modern look. It may appear on white or light colors or reversed out of darker tones. The logo also works well over photography, or as a window to reveal product.
  • Use the solid logo at smaller sizes. for a bolder impression. in place of the outline form.
  • This treatment should be the most common application of the logo on light backgrounds.
  • At large and medium sizes. this treatment works well to showcase the image.
  • At smaller sizes. this treatment makes a bold impression on photography.
  • This treatment can work well as a diecut or graphic to showcase product or texture.
  • Subtle shifts in transparency can help lift the logo off the photo for a more dimensional feeling.
  • The clear space for the logo is .25X, where Xis the height of the logo
  • The clear space for the symbol is .5X, where Xis the height of the symbol
  • The clear space for the wordmark is 1.25X, where Xis the height of the word mark
  • The following sizes have been established to provide a measure of consistency and legibility in standard print and digital applications. While there is no maximum size, the logo should be prominent but not overbearing. Remember to maintain the defined clear space.
  • .75 in
  • .6 in
  • 55 px
  • 40 px
  • .5 in
  • .25 in
  • 35 px
  • 15 px
  • .125 in
  • 10 px
  • Do not change the scale or spatial relationships on any part of the logo.
  • Do not change typefaces within the logo or lockup anything with the logo.
  • Do not change the color relationships of the approved logos.
  • Do not add gradients, drop shadows or unnecessary effects to the logo.
  • Do not skew, bend, rotate, warp, distort wrap or crop the logo.
  • Do not outline any part of the logo when used as an identifier.
  • Do not flip, reflect or reverse any part of the logo.
  • Do not place the logo on confusing or overly-busy backgrounds.
  • These brand extensions may be shown together in a series, but should never be locked up with the Belgard logo or word mark. Please follow the recommended clear space and minimum sizes.
  • Our color palette is sophisticated and modern. The diversity of hues are inspired by the outdoor world in which the brand lives, providing a wide range of possibilities. It feels aspirational and premium.
  • Use the PMS colors whenever possible in print applications. The CMYK colors can be used as an alternative to the PMS color in print. RGB values are for use in digital applications.
  • Primary Colors: Navy, cream and a silver/gray form the foundation for the Belgard brand.
  • Secondary Colors: Neutral earth tones create a natural feel and warmth in our applications.
  • Accent Colors: Brighter tertiary colors reflect the variety of hues found in outdoor living. These colors should be used sparingly as accents within an application.
  • The primary color application to the logo should always be the Belgard navy and gray/ silver. This same color principle applies to instances when the icon and the wordmark are separated from each other in the same application.
  • The Belgard logo can also be reversed out of the primary blue and gray, and the secondary colors. Reverse logos on the secondary colors should be used sparingly and follow the appropriate clear space. Do not reverse the logo out of the cream in the primary palette.
  • Primary Typeface: Cargan is a transitional serif typeface that works well for large headlines, body copy and certain small details in layout. It’s geometric look, variety of weights and approachable feeling make it the perfect pairing to the Belgard logo and will set the tone for all Belgard communications.
  • Secondary Typeface: Din next is a very structured, geometric typeface. It is flexible for large sizes, and small details. It also works well for body copy and numbers. Din Next is a secondary support typeface to Cargan and should never be the leading typeface in our consumer facing applications.
  • Accent Typeface: Din Next Condensed feels bolder and more technical than it’s parent typeface. It should be used for accents and very small details as a companion to Din Next to give our applications more texture and help in navigation.
Layout And Composition
  • No copy or other graphics should appear in the clear space. The “®” and “TM” can be scaled down when the workmark, or logo, appears at a size greater than 4" wide or 3" tall.
  • The clear space for the logo is .25X, where Xis the height of the logo
  • The clear space for the symbol is .5X, where Xis the height of the symbol
  • The clear space for the wordmark is 1.25X, where Xis the height of the word mark
  • The following sizes have been established to provide a measure of consistency and legibility in standard print and digital applications. While there is no maximum size, the logo should be prominent but not overbearing. Remember to maintain the defined clear space.
  • .75 in
  • .6 in
  • 55 px
  • 40 px
  • .5 in
  • .25 in
  • 35 px
  • 15 px
  • .125 in
  • 10 px
  • Do not change the scale or spatial relationships on any part of the logo.
  • Do not change typefaces within the logo or lockup anything with the logo.
  • Do not change the color relationships of the approved logos.
  • Do not add gradients, drop shadows or unnecessary effects to the logo.
  • Do not skew, bend, rotate, warp, distort wrap or crop the logo.
  • Do not outline any part of the logo when used as an identifier.
  • Do not flip, reflect or reverse any part of the logo.
  • Do not place the logo on confusing or overly-busy backgrounds.
  • These brand extensions may be shown together in a series, but should never be locked up with the Belgard logo or word mark. Please follow the recommended clear space and minimum sizes.
  • Future typographic brand extensions should follow these spatial and sizing relationships.
  • Belgard Wordmark: Use only the approved Belgard wordmark in typographic brand extensions.
  • Typographic Identifier: The identifier should be set in Din Next Medium, all caps, at .35X, where Xis the height of the Belgard wordmark. The identifier should be spaced below the word mark .50X. The tracking for these characters should be set at 240.
  • Use the PMS colors whenever possible in print applications. The CMYK colors can be used as an alternative to the PMS color in print. RGB values are for use in digital applications.
  • The following sizes have been established to provide a measure of consistency and legibility in standard print and digital applications. While there is no maximum size, the logo should be prominent but not overbearing. Remember to maintain the defined clear space.
  • LOGO / PRINT .75 in
  • SYMBOL / PRINT .5 in
  • WORDMARK / PRINT .125 in
  • PMS 295 C C 100 M 83 Y 44 K 45 R 10 G 41 B 81
  • PMS COOL GRAY 1 C C 9 M 5 Y 11 K 0 R 230 G 231 B 223
  • PMS 429 C C 38 M 28 Y 27 K 0 R 164 G 170 B 173
  • PMS 877 C Metallic for print only.
  • PMS 7540 C C 68 M 61 Y 59 K 46 R 65 G 65 B 66
  • PMS 416 C C 51 M 42 Y 52 K 10 R 125 G 127 B 116
  • PMS 463 C C 39 M 64 Y 91 K 34 R 132 G 78 B 40
  • PMS 465 C C 23 M 40 Y 74 K 3 R 194 G 149 B 89
  • PMS 453 C C 25 M 22 Y 43 K 0 R 195 G 186 B 152
  • PMS 209 C C 38 M 92 Y 58 K 37 R 117 G 37 B 61
  • PMS 7593 C C 25 M 86 Y 92 K 18 R 164 G 65 B 42
  • PMS 7495 C C 47 M 27 Y 96 K 5 R 145 G 153 B 60
  • PMS 2235 C C 81 M 9 Y 41 K 15 R 0 G 148 B 144
  • PMS 695 C C 27 M 65 Y 49 K 6 R 178 G 107 B 109
  • PMS 131 C C 14 M 45 Y 100 K 1 R 216 G 147 B 40
  • PMS 577 C C 36 M 10 Y 64 K 0 R 172 G 195 B 126
  • PMS 629 C C 38 M 3 Y 12 K 0 R 154 G 209 B 220
Digital Guidelines
  • LOGO / DIGITAL .75 in .6 in 55 px 40 px
  • SYMBOL / DIGITAL .5 in .25 in 35 px 15 px
  • WORDMARK / DIGITAL .125 in 10 px
  • Use the PMS colors whenever possible in print applications. The CMYK colors can be used as an alternative to the PMS color in print. RGB values are for use in digital applications.
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