Life & Peace Institute

Official Websites

• https://life-peace.org

Brand Guidelines

2019

Brand Summary

Mission

• To support and promote non-violent approaches to conflict transformation, strengthening existing local capacities to prevent violence and rebuild communities affected by conflict [^1].

Core Values

• Human dignity
• Basic rights and responsibilities
• Global mutual solidarity
• Justice, truth, reconciliation, and mutual respect
• Non-violence
• Democratic participation
• Equality
• Accountability, transparency, and trust
• Impartiality
• Conflict sensitivity
• Environmental responsibility
• Diversity
• Gender sensitivity

Target Audience

• Funding partners, partners, peer organisations, communities, civil society organisations, decision makers, internal staff, and to a lesser extent, the general public [^2].

Personality Traits

• Inclusive
• Professional
• Unified
• Authentic
• Hopeful
• Community-focused
• Diverse

Visual Identity Overview

• The visual identity is characterized by a unified, professional, and inclusive look, using a main heritage blue palette with supporting colors (yellow, grey, green, coral), consistent logo usage, and a mix of typefaces (Calibri, Georgia, Semplicita Pro). Imagery emphasizes diversity, blurred faces for anonymity, and community engagement. Design elements and layouts are clean, minimalistic, and harmonious, reflecting the brand’s values and personality [^3].

Categories

Brand Voice

• Good story-telling is a best practice today in communications. Rather than an organisation telling its audience what it is or what it does, a story gives a genuine and authentic insight into our work, told through others’ eyes, often through our participants. A story is much more memorable than facts and figures.
• Telling a good story can raise awareness, inspire and resonate with audiences, increase partnerships and funding opportunities. We can also use stories to communicate the complexity and long-term nature of peace-building work.
• LPI has already used story-telling successfully, particularly in the long-form. It can also further use these stories through various channels including social media, the website, presentations, reports, proposals, blogs, podcasts and emails. Stories can also be enhanced by or told through photos and videos.
• A FEEL piece, not a THINK piece. What emotions are you trying to elicit? Use an authentic voice – do not try to tailor it, so it is too professional or standard organisation language. It should be in a language that resonates with those reading it.
• A moment in time. No two moments are alike. What happened? Who was there? What did they say and see?
• About an individual, not about the general public. It is also tailored to a specific audience, not to the general public.
• About dignity and hope, not about victims or those who lead perfectly happy lives. It should lead to a learning. It can teach ethics, values, cultural norms and differences.
• Inspired or about those you work with. Ideas can come from meetings, dialogues, events, social media comments and conversations.
• Focused outwards. Avoid wording like “I thought,” “I felt,” “I realised,” or “I learned.” That interpretation and analysis puts up a wall between you and your reader. Experiment with different ways to present your thoughts and feelings using dialogue, sensory details, and physical descriptions.
• Short. Think of short stories for short attention spans.

Brand Imagery

• Peace Begins With People - The image should feature a background divided into two main sections: the left section with a dark blue background and the right section with a bright yellow background. In the left section, the phrase ‘PEACE BEGINS WITH PEOPLE’ should be prominently displayed with large, bold, white uppercase letters organized in a centered, stacked manner. The word ‘PEACE’ is at the top, followed by ‘BEGINS’, then ‘WITH’, and ‘PEOPLE’ at the bottom. The right section, with the yellow background, should include an image of a person with blurred facial features, wearing a hoodie and glasses, holding a folder or notebook, and standing in an urban environment with blurred buildings or cityscape to suggest a street or public space setting. The person’s stance should be casual, conveying a message of community and connection, reinforcing the theme of the quote. The overall composition should inspire a sense of unity, hope, and the importance of dialogue among people.
• Person with Hijab and Obscured Face - The picture should depict a person wearing a hijab, which covers the head and shoulders, with the face obscured by a large square overlay. The individual appears to be in an outdoor setting, possibly on a street or near a marketplace, with a background featuring blurred architectural elements and a cloudy or mountainous sky in the distance. The person’s attire includes a scarf wrapped around the head and neck, and a patterned garment, with a dark outer jacket or coat. The overall tone of the image is blue, and the person’s posture is upright, facing directly forward. The atmosphere suggests daytime with the focus on the person as the main subject, and there are no visible facial features due to the heavy overlay.
• Three Blurred Faces Triptych - The image should depict a triptych with three vertical panels, each featuring a person with a blurred face to maintain anonymity. The first panel on the left shows an individual wearing a light-colored, possibly striped, collared shirt, making a gesture with both hands extended forward and palms up, against a background with foliage and a building, tinted in red tones. The middle panel presents a person dressed in a denim jacket with a hood covering their head, possibly layered over a shirt, standing against a dark, plain background with a yellow-green tint, with their face obscured and the hood pulled up. The right panel features a person with curly hair, wearing a t-shirt and a necklace, with arms resting on a surface, looking to the side, set against a background with an angular structure or wall, with a blue tint. Each panel’s background and color tones differ, creating distinct visual segments, and the faces are intentionally blurred to obscure identities.
• Dual Portrait Scene - The image should depict two individuals positioned side by side, each occupying half of the frame. The person on the left is standing in front of a background with a window structure, wearing glasses, and holding an open book, with their face blurred to obscure identity. They are dressed in a jacket over a shirt, with a casual appearance. The person on the right is also facing forward but with arms crossed, and is set against a background of a room with visible window panels or frames, dressed in a blazer over a striped shirt, with their face similarly blurred. The overall scene suggests a split-screen or contrasting setting, possibly for a comparison or thematic presentation.

Color Palette

• The LPI colour palette has two layers: Main heritage colour palette and the Supporting colour palette. The main heritage palette continues our existing blue colour palette. The supporting colour palette provides a wider spectrum to use in our communications. Secondary palette is broken into four colours: Vision yellow, Grounded grey, Collaboration green and Action coral - mirroring our values and personality. All colours besides our main Knowledge blue can be use as tints in 70%, 50% and 30%. The following pages outline each colour break down.
• Main heritage colour palette
• Pantone 2748
• CMYK 100 / 92 / 15 / 5
• RGB 1 / 33 / 105
• CMYK 50 / 15 / 0 / 0
• RGB 120 / 184 / 229
• Supporting colour palette
• Vision Yellow
• Grounded Grey
• Collaboration Green
• Action Coral
• CMYK 0 / 16 / 87 / 0
• RGB 247 / 211 / 30
• CMYK 22 / 21 / 37 / 0
• RGB 206 / 200 / 178
• CMYK 84 / 32 / 67 / 15
• RGB 31 / 120 / 100
• CMYK 7 / 84 / 65 / 0
• RGB 224 / 81 / 83

Typography

• When used thoughtfully, typography becomes a powerful visual brand identity tool that can add meaning to what is communicated. As most typefaces require a license and not standard on a PC we have chosen three typefaces for flexibility.
• Everyday typefaces - standard on every PC
• Calibri
• This is our day to day headline typeface and should be used in our PC-based applications such as templates, reports and documents.
• We use Calibri for - headlines - sub-headlines - captions - can also be used as body copy
• Georgia
• This is our day to day body-copy typeface and should be used in our PC-based applications such as templates, reports and documents.
• We use Georgia for - body copy and long-form text - quotes
• Licences typeface and not for in-house use, but to be shared with external designers.
• Semplicita Pro
• Semplicita Pro can be obtained from Adobe Fonts https://fonts.adobe.com/fonts/semplicita or purchased from MyFonts https://www.myfonts.com/fonts/canadatype/semplicita-pro/
• Semplicita Pro differentiate us, makes us recognisable and should be used when we commission external design work. You do not need to acquire this font in your in-country office, but please contact the communications team if you need it.
• A designer can use Semplicita Pro for - headlines - sub-headlines - captions - body copy
• Semplicita Pro can also be used in combination with Georgia.

Logo Usage

• The logotype elements should never be separated. Position, size, and colour, along with the proportional relationships of the elements are predetermined and should not be altered.
• • blue and white version

Tone And Messaging

• When communicating, we cannot communicate everything to everyone. It will change the information, tone and style of what we are sharing. We will therefore try and decide on one to two audiences, then test and review how successful our communications has been with them.
• Good story-telling is a best practice today in communications. Rather than an organisation telling its audience what it is or what it does, a story gives a genuine and authentic insight into our work, told through others’ eyes, often through our participants. A story is much more memorable than facts and figures.
• Telling a good story can raise awareness, inspire and resonate with audiences, increase partnerships and funding opportunities. We can also use stories to communicate the complexity and long-term nature of peace-building work.
• LPI has already used story-telling successfully, particularly in the long-form. It can also further use these stories through various channels including social media, the website, presentations, reports, proposals, blogs, podcasts and emails. Stories can also be enhanced by or told through photos and videos.
• A FEEL piece, not a THINK piece. What emotions are you trying to elicit? Use an authentic voice – do not try to tailor it, so it is too professional or standard organisation language. It should be in a language that resonates with those reading it.
• A moment in time. No two moments are alike. What happened? Who was there? What did they say and see?
• About an individual, not about the general public. It is also tailored to a specific audience, not to the general public.
• About dignity and hope, not about victims or those who lead perfectly happy lives. It should lead to a learning. It can teach ethics, values, cultural norms and differences.
• Inspired or about those you work with. Ideas can come from meetings, dialogues, events, social media comments and conversations.
• Focused outwards. Avoid wording like “I thought,” “I felt,” “I realised,” or “I learned.” That interpretation and analysis puts up a wall between you and your reader. Experiment with different ways to present your thoughts and feelings using dialogue, sensory details, and physical descriptions.
• Short. Think of short stories for short attention spans.

Brand Values

• All human life is sacred and possesses a dignity that belongs to every human being regardless of who they are or what they do.
• Every person has basic rights and responsibilities that flow from our human dignity and that belong to us as human beings regardless of any social or political structures. The recognition of the inherent dignity and of the equal and inalienable rights of all people is expressed in the International Declaration of Human Rights. Corresponding to these rights are duties and responsibilities to respect the rights of others and to work for the common good of all.
• As members of one human family – whatever our national, ethnical, religious, economic or ideological differences – we are to live in global mutual solidarity with one another. This means that special consideration in economic, political and social decisions must be given to those in greatest need, the most marginalised – in order to promote life in its fullness with peaceful relations for all.
• True peace encompasses justice, truth, reconciliation and mutual respect. Esteem for human dignity and human rights is consistent with this vision and a foundation for peace.
• Conflict is an inherent and complex aspect of every society; violence need not be. Sustainable peace can only be based on a culture of non-violence.
• Peace work must encompass all levels and segments of society. Adherence to basic democratic principles, where all people have a right to participate in social and political life, is a necessary precondition for building lasting peace.
• Equality is a vital necessity in shaping a community of men and women playing equally important roles.

Visual Style

• The logotype elements should never be separated. Position, size, and colour, along with the proportional relationships of the elements are predetermined and should not be altered.
• The LPI colour palette has two layers: Main heritage colour palette and the Supporting colour palette. The main heritage palette continues our existing blue colour palette. The supporting colour palette provides a wider spectrum to use in our communications. Secondary palette is broken into four colours: Vision yellow, Grounded grey, Collaboration green and Action coral - mirroring our values and personality. All colours besides our main Knowledge blue can be use as tints in 70%, 50% and 30%. The following pages outline each colour break down.
• Pantone 2748 CMYK 100 / 92 / 15 / 5 RGB 1 / 33 / 105
• Pantone 2748 CMYK 50 / 15 / 0 / 0 RGB 120 / 184 / 229
• Vision Yellow CMYK 0 / 16 / 87 / 0 RGB 247 / 211 / 30
• Grounded Grey CMYK 22 / 21 / 37 / 0 RGB 206 / 200 / 178
• Collaboration Green CMYK 84 / 32 / 67 / 15 RGB 31 / 120 / 100
• Action Coral CMYK 7 / 84 / 65 / 0 RGB 224 / 81 / 83
• All colours besides our main Knowledge blue can be use as tints in 70%, 50% and 30%.
• Semplicita Pro differentiate us, makes us recognisable and should be used when we commission external design work. You do not need to acquire this font in your in-country office, but please contact the communications team if you need it.
• A designer can use Semplicita Pro for - headlines - sub-headlines - captions - body copy
• Semplicita Pro can also be used in combination with Georgia.
• Calibri This is our day to day headline typeface and should be used in our PC-based applications such as templates, reports and documents.
• We use Calibri for - headlines - sub-headlines - captions - can also be used as body copy
• Georgia This is our day to day body-copy typeface and should be used in our PC-based applications such as templates, reports and documents.
• We use Georgia for - body copy and long-form text - quotes

Layout And Composition

• The image should feature a background divided into two main sections: the left section with a dark blue background and the right section with a bright yellow background. In the left section, the phrase ‘PEACE BEGINS WITH PEOPLE’ should be prominently displayed with large, bold, white uppercase letters organized in a centered, stacked manner. The word ‘PEACE’ is at the top, followed by ‘BEGINS’, then ‘WITH’, and ‘PEOPLE’ at the bottom. The right section, with the yellow background, should include an image of a person with blurred facial features, wearing a hoodie and glasses, holding a folder or notebook, and standing in an urban environment with blurred buildings or cityscape to suggest a street or public space setting. The person’s stance should be casual, conveying a message of community and connection, reinforcing the theme of the quote. The overall composition should inspire a sense of unity, hope, and the importance of dialogue among people.
• The picture should depict a person wearing a hijab, which covers the head and shoulders, with the face obscured by a large square overlay. The individual appears to be in an outdoor setting, possibly on a street or near a marketplace, with a background featuring blurred architectural elements and a cloudy or mountainous sky in the distance. The person’s attire includes a scarf wrapped around the head and neck, and a patterned garment, with a dark outer jacket or coat. The overall tone of the image is blue, and the person’s posture is upright, facing directly forward. The atmosphere suggests daytime with the focus on the person as the main subject, and there are no visible facial features due to the heavy overlay.
• The image should depict a triptych with three vertical panels, each featuring a person with a blurred face to maintain anonymity. The first panel on the left shows an individual wearing a light-colored, possibly striped, collared shirt, making a gesture with both hands extended forward and palms up, against a background with foliage and a building, tinted in red tones. The middle panel presents a person dressed in a denim jacket with a hood covering their head, possibly layered over a shirt, standing against a dark, plain background with a yellow-green tint, with their face obscured and the hood pulled up. The right panel features a person with curly hair, wearing a t-shirt and a necklace, with arms resting on a surface, looking to the side, set against a background with an angular structure or wall, with a blue tint. Each panel’s background and color tones differ, creating distinct visual segments, and the faces are intentionally blurred to obscure identities.
• The image should depict two individuals positioned side by side, each occupying half of the frame. The person on the left is standing in front of a background with a window structure, wearing glasses, and holding an open book, with their face blurred to obscure identity. They are dressed in a jacket over a shirt, with a casual appearance. The person on the right is also facing forward but with arms crossed, and is set against a background of a room with visible window panels or frames, dressed in a blazer over a striped shirt, with their face similarly blurred. The overall scene suggests a split-screen or contrasting setting, possibly for a comparison or thematic presentation.

Storytelling Guidelines

• Good story-telling is a best practice today in communications. Rather than an organisation telling its audience what it is or what it does, a story gives a genuine and authentic insight into our work, told through others’ eyes, often through our participants. A story is much more memorable than facts and figures.
• Telling a good story can raise awareness, inspire and resonate with audiences, increase partnerships and funding opportunities. We can also use stories to communicate the complexity and long-term nature of peace-building work.
• LPI has already used story-telling successfully, particularly in the long-form. It can also further use these stories through various channels including social media, the website, presentations, reports, proposals, blogs, podcasts and emails. Stories can also be enhanced by or told through photos and videos.
• Some guidelines for story-telling (genuine and authentic). A good story is: • A FEEL piece, not a THINK piece. What emotions are you trying to elicit? Use an authentic voice – do not try to tailor it, so it is too professional or standard organisation language. It should be in a language that resonates with those reading it. • A moment in time. No two moments are alike. What happened? Who was there? What did they say and see? • About an individual, not about the general public. It is also tailored to a specific audience, not to the general public. • About dignity and hope, not about victims or those who lead perfectly happy lives. It should lead to a learning. It can teach ethics, values, cultural norms and differences. • Inspired or about those you work with. Ideas can come from meetings, dialogues, events, social media comments and conversations. • Focused outwards. Avoid wording like “I thought,” “I felt,” “I realised,” or “I learned.” That interpretation and analysis puts up a wall between you and your reader. Experiment with different ways to present your thoughts and feelings using dialogue, sensory details, and physical descriptions. • Short. Think of short stories for short attention spans.

Additional Properties