BRAND
MANUAL
1.0
1
Introduction
In this updated version of the Sofigate
Brand Manual we have created guidelines
to help build the updated look and feel for
Sofigate. Our identity is not just a logotype.
It's a design scheme composed of a
number of elements that come together to
create a strong and instantly recognisable
visual language.
2
Content
Identity elements
Logotype 6
Typography 12
Colors 23
Imagery 29
Pictograms 35
3
ELEMENTS
4
Elements Toolbox
Logotype Typography
FUTURA BOLD
Futura Demi & Demi Oblique
Futura Book & Book oblique
Futura Light & Light Oblique
Colors Imagery Pictograms
Primary colors
People Architecture/ Nature/landscape
environments
Secondary colors
5
OUR
LOGOTYPE
Our logotype is the single most effective
tool when it comes to the recognition and
identification of our brand. To ensure
maximum impact and awareness of the
Sofigate brand, it's important to treat the
logotype according to these guidelines.
6
Logotype Introduction
In the development of an evolved
corporate identity for Sofigate, the focus
has not been to create a new logotype.
Instead, the Sofigate corporate identity will
be revitalized by strengthening other core
graphic elements such as typography, an
updated color palette, a common image
bank and by creating a grid system.
However a few adjustments of the existing
logotype have been made. The adjustments
are all very small, which means that
everybody will still recognize it as the same
Sofigate logotype. These adjustments
include optimizing the space between the
letters for legibility.
7
Logotype Variations
Primary
There are three versions of our logotype. This is to
optimise our brand presence in different contexts and
environments. Our primary logotype versions are red
and white. The secondary version is black.
The white logo version can be used on a variety of colour and image
backgrounds. The red logotype works best on a white background or
light coloured images.
Secondary
The black logotype should be used when there are no other altarnatives.
8
Logotype Logo usage & placement
Logo usage
The reproduction versions of the Sofigate logo can be
applied to different backgrounds. Main rule is that the
logo should always have enough contrast to it's back-
ground so it's clearly visible, but there are a couple of
rules that we should always follow:
1. The red logo version can only be used on the brand
colours of our colour palette – white, dark grey and light
grey – and on images that have enough contrast.
2. The white logo version is especially for the red back-
ground and darker colours or darker images, but can
be used on all variety of backgrounds as long as it has
enough contrast.
Placement Primary Secondary Exceptional cases
There are four preferred positions for the Sofigate logo.
Their purpose is to create a visual standard. The logo
should be placed according to the pictures to the right.
Please ensure that a correctly sized Sofigate logo is used
in each case.
Our primary placements are top left or bottom Our secondary placements are top right or In some cases a centred placement provides the
left corner. bottom right corner. most impact. Examples of these are in film and
co-branding.
9
Logotype Sizes & clearspace
Sizes
The logotype should always be readable and
consistently sized across similar formats.
Consistency
An introduction to Business Technology Industry leadership through integrated
technology management functions
Here you can find some defined sizes for the logotype.
Unique content may dictate that you need to veer from
these sizes on occasion. However, it is important to use An introduction to
as few unique sizes of the logotype as possible. Always
Business Technology
Industry leadership through
integrated technology
An introduction to Business Technology Industry leadership through integrated management functions
technology management functions
apply the logotype consistently across similarly
sized formats.
A6 (105x148 mm) 35 mm An introduction to
Business Technology
Industry leadership through
integrated technology
A5 (148x210 mm) 45 mm
management functions
A4 (210x297 mm) 45 mm
A3 (297x420 mm) 65 mm
A2 (420x594 mm) 95 mm
A1 (841x1189 mm) 135 mm
A0 (841x1189 mm) 195 mm
Clearspace Logotype
The minimum clear space is in direct proportion to the
size of the height of the letters in the logotype. Note
that this is only the minimum clear space; there is usually
more free space around the logo then just the
clear space.
The minimum clear space around the wordmark is equal to the
logotypes height.
10
Logotype Do's and Don'ts
Do's and Don'ts
For your guidance, some typical examples of incorrect
use of the Sofigate logo are illustrated here.
Examples 1. 2. 3. 4.
1. Never use the red logo on colours other than our
brand colours. Exceptions see nr. 2
2. Exceptions are only allowed if the Sofigate logo
occurs in external contexts where we can not control the
background color, but it should only be used against 5. 6. 7. 8.
white, black or any grayscale.
3-4. Never add any effects to the logo such as shadows
or outlines to make it stand out.
5. Always try to use the Primary versions of the logotype
before before resorting to the secondary version.
6. Never tilt the logotype
7. Never adjust the logotype such as compress or
extend it.
8. Never add any other graphic elements to
the logotype.
11
OUR
TYPOGRAPHY
Typography is a big part of our identity.
When used correctly it helps to create
a consistent and coherent look and feel.
Our typeface is almost always present
in everything that we do, and is an
extremely important ingredient of
our brand.
12
Typography Introduction
Futura has been specially selected for
Sofigate to act as the primary Sofigate
typeface for all applications and all
identity implementation.
13
Typography
Futura comes in four weights: Bold, Demi, Book
and Light. Each weight has a specific task in our
typographical hierarchy, see more about that
under treatment.
FUTURA BOLD
Futura Demi & Futura Demi Oblique
Futura Book & Futura Book Oblique
Futura Light & Futura Light Oblique
14
Typography Futura family
Futura is a geometric sans-serif typeface designed by
Paul Renner and released in 1927. The design of Futura
avoids the decorative, eliminating nonessential elements,
but makes subtle departures from pure geometric designs
that allow the letterforms to seem balanced.
HEADLINE
FUTURA BOLD
ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ
0123456789!?&@%#€+.,:-
Subheading
Futura Demi Futura Demi Oblique
ABCDEFGHIJKLMNOPQRSTU ABCDEFGHIJKLMNOPQRSTU
VWXYZÅÄÖabcdefghijklmno VWXYZÅÄÖabcdefghijklmno
pqrstuvwxyzåäö pqrstuvwxyzåäö
0123456789!?&@%#€+.,:- 0123456789!?&@%#€+.,:-
Body copy and info text Futura Book
ABCDEFGHIJKLMNOPQRSTU
Futura Book
ABCDEFGHIJKLMNOPQRSTU
VWXYZÅÄÖabcdefghijklmno VWXYZÅÄÖabcdefghijklmno
pqrstuvwxyzåäö pqrstuvwxyzåäö
0123456789!?&@%#€+.,:- 0123456789!?&@%#€+.,:-
15
Typography Headline
Leading
THE BUSINESS
Futura Bold
72 pt / 62 pt Headings up to 20pt 100% of font size.
Headings over 20pt 85% of font size.
TECHNOLOGY
Kerning
We use optical kerning for headlines
whenever possible.
COMPANY. Left align
We primarily use left-aligned typography.
Aligned left (or ragged right) is the most
readable alignment – it provides the eye with
a common starting point for each line. Make
sure the lines aren’t too long. Try to aim for
7-10 words or 45-65 characters per line.
16
Typography Subheading
Futura Demi Leading
36 pt / 36 pt To ensure high readability, a leading of
We are harnessing the potential
approx. 100–120% of the font size is
recommended. Larger font sizes need smaller
leading and smaller font sizes need larger
leading.
of technology – to create value
for the business.
Kerning
We use metric kerning for subheadings.
Left-align
We primarily use left-aligned typography.
Aligned left (or ragged right) is the most
readable alignment – it provides the eye with
a common starting point for each line. Make
sure the lines aren’t too long. Try to aim for
7-10 words or 45-65 characters per line.
Futura Demi
12 pt / 14 pt
We are harnessing the potential
of technology – to create value
for the business.
17
Typography Body copy
Futura Book Leading
9 pt / 11 pt To ensure high readability, a leading of
approx. 100–120% of the font size is
Service Management plays a key role in accelerating digitalization and recommended. Larger font sizes need smaller
enabling better services with high reliability, security and cost efficiency. leading and smaller font sizes need larger
Business is more reliable on information technology services than ever befo- leading.
re. At the same time, the service development ecosystem is becoming more
extensive and more complex every single day. Automation and robotics are
making a huge difference in cost efficiency and quality. Sofigate is the fore-
runner in developing best practices and operations for Service Integration Kerning
We use metric kerning for subheadings.
and Automation. On the other hand, we help our customers to shift their fo-
cus from incident driven operational service management to business-driven
service design and development. We partner with the leading technology
companies to enable service automation.
Left-align
We primarily use left-aligned typography.
Aligned left (or ragged right) is the most
readable alignment – it provides the eye with
a common starting point for each line. Make
sure the lines aren’t too long. Try to aim for
7-10 words or 45-65 characters per line.
18
Typography Weights
Typographical weights are a powerful tool to build
hierarchies. Used correctly they will help to strengthen
our words and communication, as well as establish a
distinct visual recognition of our brand.
Bold Demi Regular Light
Bold is primarily used for large headlines. And always Demi is used in Stand first, sub-headlines and in Regular is primarily used in body copy. Light can be used in pull-out text or preambles.
in all caps. smaller headlines.
19
Typography Sizes
To create a clear typographic hierarchy it's important that
the differences in font sizes between different kinds of
information are prominent.
Headline 1
For example, if you want the body copy to be 10pt use a
headline with at least 400% difference in size, e.g. 10pt
base size, the minimum Headline 1 size to be 40pt
Headline 2
For example, if you want the body copy to be 10pt use a
headline with at least 150% difference in size, e.g. 10pt
base size, would imply the minimum Headline 2 size to
be 15pt.
Subheading
For example, if you want the body copy to be 10pt use a
subheading with 100% of the size, e.g. 10pt base size,
would imply 10pt for subheading.
The sizes in the examples above should be seen as
general recommendations. Different formats and
contexts require different sizes.
20
Typography Layout
It's not only the typeface itself that creates the character;
it's also how it's placed in a layout. A grid is a way of
dividing a format into sections to give structure and
alignment to elements placed within it. It is an extremely
important tool that enables structured and interesting
layouts.
We are using a flexible 12-column grid system. Based
on this system we can create functional grids for specific
formats which allows for stringent handling and expres-
sions. We have an asymmetric approach to layout and
welcome large areas of whitespace when possible.
21
Typography Secondary typography
System font
We use Arial as a system font. A system font is
a typeface that is available on all computers.
When sending open documents, such as Word
or PowerPoint documents, always use Arial.
ARIAL BLACK
Arial Bold & Bold italic
Regular Bold & Regular italic
22
Typography Secondary typography
Arial
We use Arial as a replacement for Futura. The same
kind of rules as we use on Futura should be applied
to Arial.
HEADLINE
ARIAL BLACK
ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ
0123456789!?&@%#€+.,:-
Subheading
Arial Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ
abcdefghijklmnopqrstuvwxyzåäö
0123456789!?&@%#€+.,:-
Body copy and info text Arial Regular
ABCDEFGHIJKLMNOPQRSTU
Arial Regular Italic
ABCDEFGHIJKLMNOPQRSTU
VWXYZÅÄÖabcdefghijklmno VWXYZÅÄÖabcdefghijklmno
pqrstuvwxyzåäö pqrstuvwxyzåäö
0123456789!?&@%#€+.,:- 0123456789!?&@%#€+.,:-
23
OUR
COLOURS
Color is a powerful tool of visual expression,
and the red is the colour most strongly
associated with Sofigate. It is therefore a
key area when communicating our identity.
But it is not all about red on it´s own. It´s a
combination between all brand colours
that contributes to a coherent look.
24
Our colours Introduction
Colour is a universal identifier that cuts
across language barriers. Our colours
are put together to support each other
in different ways, and should never
be altered.
25
Our colours Specifications
Brand colours - Red and white
Although we use four brand colours, red is the most
important one. It is a colour strongly associated with
our brand and is therefore almost always represented
in some way across all of our materials. Red being
represented is not the same as using it for everything,
everywhere. Often a red logo or a headline is more than
enough to make someone instantly recognise us as the
sender of a message. But never exclude the Sofigate red
completely unless the only option is black and white.
Brand colours - Grey
Our grey colours are supporting colours to the red and
white. They are brand colours, but often used as sub
colours working as backgrounds in different ways. Never
use these colours for the Sofigate logo or exclude the
Sofigate red completely unless the only option is black
and white.
Functional colours
Our functional colours have a specific use within each
Sofigate area or division;
– Project and development management
– Sourcing and supplier management
– Strategy and governance
– Enterprise development
– Service management
They can be used as much as the brand colours, but Project and development Sourcing and supplier Strategy and governance Enterprise development Service management
only in unique area applications or as chapters and management management
for subpages. Never use these colours as Sofigate
brand colours. 26
Our colours Treatment
Red is the colour most strongly associated with Sofigate
and should therefore almost always be present in all
applications. But that doesn't mean we have to paint the
world red, sometimes it's enough to have a hint of red on
a white background.
Amount of red
We can easily go from all red to very little red by wor-
king with the background and colouring our typography
in different amounts.
Colour and text
The colour of the typography depends on the back-
ground colour it’s placed on. The most important
function of text is to be readable. Always make sure that
the text colour contrasts strongly against its background.
We only colour the text in our brand colours, red, dark
grey and light grey, unless it´s a direct link to a “area”.
For example information text inside a chapter that only
describes one specific area.
27
Our colours Treatment
Functional colours usage
Our functional colours have a specific use within each
Sofigate area or division. For example, area "Sourcing
and Supplier Management" have the colour blue. In
printed or digital materials that are specific for this
area/division, we can use the colour blue. It can can
be a cover of a brochure, a chapter slide in a PPT or
colouring text and charts.
28
Our colours Specification
1. Brand colours
To ensure a consistent look always use the colour values
specified to the right.
PMS 185C C0 M0 Y0 K0 PMS 7540C PMS CoolGray5C PMS CoolGray2C
C0 M95 Y80 K0 R255 G255 B255 C41 M28 Y22 K70 C13 M9 Y10 K27 C5 M3 Y5 K11
R235 G23 B45 #FFF R58 G58 B58 R180 G180 B180 R220 G220 B220
#eb172d #3a3a3a #b4b4b4 #dcdcdc
2. Functional colours
A A A A A
B B B B B
C C C C C
A. PMS 136C A. PMS 7488C A. PMS 297C A. PMS 529C A. PMS 189C
C0 M24 Y80 K0 C55 M0 Y80 K0 C50 M0 Y1 K0 C23 M45 Y0 K0 C0 M42 Y10 K0
R255 G201 B71 R92 G218 B110 R79 G212 B251 R217 G161 B238 R255 G177 B192
#ffc947 #5cda6e #4fd4fb #d9a1ee #ffb1c0
B. PMS 151C B. PMS 361C B. PMS 299C B. PMS 2583C B. PMS 184C
C0 M58 Y93 K0 C77 M0 Y100 K0 C86 M8 Y0 K0 C47 M72 Y0 K0 C0 M79 Y34 K0
R245 G130 B20 R50 G185 B86 R20 G165 B240 R194 G106 B227 R255 G90 B122
#f58214 #32b956 #14a5f0 #c26ae3 #ff5a7a
C. PMS 159C C. PMS 348 C. PMS 300C C. PMS 2593C C. PMS 1945C
C1 M75 Y100 K10 C100 M10 Y100 K12 C100 M60 Y0 K0 C70 M95 Y0 K0 C20 M95 Y55 K13
R215 G84 B10 R20 G140 B70 R1 G100 B224 R130 G58 B160 R181 G39 B74
#d7540a #148c46 #0164e0 #823aa0 #b5274a
29
OUR
IMAGERY
Imagery has the power to communicate
our world and the world around us in a
way that words never can. It can bring
out emotions and enhance our brand on
many levels.
30
Our imagery Introduction
The general tone of the images is calm
and elegant. Beautiful ingredients such
as natural materials, unfeigned people,
modern furniture and architecture
create simple and tasteful situations
and environments.
Non-saturated colours create a
sophisticated and thoughtful expression.
We create interesting and exciting
compositions by mixing conventional
solutions with more unexpected angles.
The compositions have clear lines and
focal points. The central objects are
unthreatened by competing elements.
31
Our imagery Look and feel
The light in our images is natural and soft creating
smooth shadows. The contrast is natural reinforcing
the authentic expression.
The colours are desaturated, neutral and natural giving
a sophisticated impression.
– Nordic
– Crisp
– Natural lighting & contrast
– Modern
– Diverse
– Desaturated
– Casual clothing
– Genuine emotions (not posed)
32
Our imagery Categories
The image concept is divided into three image cate-
gories. These categories give guidance as to how we
portray different kinds of subjects and environments.
This is useful when giving instructions to photographers
or when searching for stock images.
People
People are depicted both in groups and alone. We see
situations where individuals are apparently focused on
a task, but also in quieter moments when the camera
captures them lost in thought or meeting your eyes in
the lens. Clothes are greyed out and harmonise with the
background and the surrounding environment. Persona-
lities emerge by facial expressions and body language.
Everyday chores and office environments are experien-
ced authentically without becoming commonplace.
Architecture / environments
The physical surroundings are magnificent and seductive.
Straight, sharp lines create a monumental feeling. Natu-
ral, simple materials intermingled with contemporary ex-
pressions. Together they provide a sense of modernism,
power and elegance. Buildings and objects are given
space and are often the focal point of the image. On
occasion, buildings are cropped, which provides new,
surprising interpretations of otherwise well-known themes.
33
Our imagery Categories
Nature / landscape
Epic scenery, enchanting in its sincerity, portrays the
Nordic region and the world. The viewer is captivated
by nature’s power and relentless ability to fascinate and
engage us. The motifs capture the power and beauty of
what we take for granted. Sunlight mixed with rain, fog
and darkness. The variations strengthen the feeling of
authenticity and let nature act out its own power.
34
Our imagery Treatment
To enable images to have an impact it is important that
they are treated with care. When used correctly, images
can be a powerful tool to enhance a message and build
our brand.
Whitespace
Consider the layout when choosing your image. Some
images have a lot of free space, allowing extensive
headings and copy to be added without covering the
motif. Others are more crowded, suitable only for a
few words.
Cropping
When cropping images, always strive to remove as little
as possible of the original image – and make sure to
maintain the central point of interest.
35
OUR
PICTOGRAMS
Pictograms are a great way of visually
conveying information in a quick and
universal way.
36
Our pictograms Introduction
We have our own set of pictograms.
They have been drawn to have a
visual connection to our logotype
and typography.
37
Our pictograms Concept
Construction People
Our pictograms are carefully constructed to make them
belong to their visual family. This image shows how the
pictogram is constructed in the grid. Always use this grid
when creating new pictograms.
Placement in the grid Pictogram placement area Pictogram on background
The pictogram should always be placed within the red
lines in the grid. And if you need a background, always
use a circle placed in the outer line of the grid.
38
Our pictograms Concept
Line thickness & corner radius
When making new pictograms ensure that the line thick-
ness should always be 10pt, equal two squares in the
grid. Exceptions apply for details in the pictogram, that
use a line thickness 5pt, equal one squares in the grid.
The outer corner radius 8,8mm. Other curved shapes
closer than 1 pixel in the grid, should have a whole circle
as rounded corners.
Inspiration
Here are a couple of pictograms that shows how we
work with the corner radius and line thickness. Despite
different motives we still can have a unifying look
and feel.
39
THANKS!
40
