Logos & Patterns

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  Levantine Logo

  Levantine Logo

  The Levantine wordmark is created with a set of unique hand rendered letterforms. This bespoke collection of letters make up the wordmark. The visual strength of the wordmark allows for its application across a vast range of platforms and deliverables, however in order to guarantee its universal quality it is vital that its application is always consistent and considered—creating unity across the entire brand. 

  Due to its highly distinctive nature, it is vital to protect the integrity and recognition of the wordmark. In order to do this it must appear at the same primary size (77mm) across all printed collateral and menus. It can be scaled up or down depending on its application, but must never be used smaller than 35mm, to ensure its legibility across all applications. It must always be surrounded by a safety area or exclusion zone, which is measured from the height of the letterform ‘e’, which also can be used as a solid filled brand device. The wordmark must only ever appear in the two brand colours or white.
  

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  Al-Meida Logo

  Al-Meida Logo

  When Al-Maeda is in use, the alternative strapline, ‘Spirit of Levant’ must always be used. This strapline is added to the wordmark, creating a fixed relationship between the two. This is referred to as the brand lockup. This arrangement must be used where possible and never modified or recreated. The lockup must be used whenever possible, across all implementations of the brand. The only exceptions are on the external signage or when the wordmark is applied to a highly detailed photographic background or when the wordmark’s width is below the primary usage dimensions. The distance between the wordmark and the strapline is the height of the letter ‘i’ and measured from the second lowest letter of the wordmark, the ‘e’.
  

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  Ansari Logo

  Ansari Logo

  When Ansari is in use the alternative strapline, ‘Spirit of Levant’ must always be used.

  This strapline is added to the wordmark, creating a fixed relationship between the two. This is referred to as the brand lockup. This arrangement must be used where possible and never modified or recreated.

  The lockup must be used whenever possible, across all implementations of the brand. The only exceptions are on the external signage or when the wordmark is applied to a highly detailed photographic background or when the wordmark’s width is below the primary usage dimensions.

  The distance between the wordmark and the strapline is the height of the letterform ‘i’ and measured from the second lowest letter of the wordmark; the ‘e’ character.

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  Color Palette

  Color Palette

  The Levantine wordmark must always appear in the brand berry colour. In scenarios where this is not possible, often when being applied to photographic or busy backgrounds, the wordmark may appear in Levantine Charcoal or pure white. This will depend on the main colours of the background of which the wordmark is being applied to. The Levantine Charcoal must also always be used for any body copy text, including menus, stationery and online communications. There are also four other supporting brand colours which are to be used as part of the bespoke Levantine pattern work, and as highlight colours where necessary.

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  Artwork

  Artwork

  PHOTOGRAPHY DIRECTION

  Any images used in conjunction with the brand, must be inherent of the concept. The colours and content must always be similar to the examples shown, continuing the level of quality and aspiration which the brand offers. The example images shown are for inspirational purposes only and must not be used due to copyright.

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  Fonts

  Fonts

  FF BAU

  FF Bau is the primary typeface of the brand and must always be the first choice for text usage.

  A clean and contemporary typeface, which has been strongly inspired by pioneering type casts from a century ago. This contemporary progression is rationalised perfectly alongside the spirit and warmth of its inspiration.

  The font files are not supplied, but in order to use them as directed, licenses are required and can be purchased from FontFont. (www.fontfont.com)

  AKURAT MONO

  Akkurat Mono is the secondary typeface and must be used in support of FF Bau on all customer materials.

  A solid and reliable typeface with remarkable legibility. Its contemporary freshness, is balanced alongside its traditional pragmatic roots, a combination which ensures optimal readability across print and digital platforms.

  The font files are not supplied,but in order to use them as directed, licenses are requiredand can be purchased from Lineto. (www.lineto.com)

  SABON LT STD

  Sabon is the tertiary typeface and must always be used for large amounts of text in all corporate products of the brand.

  A traditional and refined serif typeface, perfect for large amounts of body copy. Famous for its usage in book typography, business documents and corporate design.

  The font files are not supplied, but in order to use them as directed, licenses are required and can be purchased from Linotype. (www.linotype.com)
  

  USAGE & DETAILING

  The aforementioned typefaces must be the only typefaces used within all brand materials. To elevate the brand typography a selection of detailed typographic considerations must be adhered to, in order to effectively contribute to the distinctive typographic direction of the brand.

  The size of type is referred to as the point size, which can be chosen and considered depending on its usage, but must never change on the stationery and menus.

  The vertical spacing between each line of body copy is referred to as the leading, this can be adjusted depending on its application, but must never be tighter than 120% of the point size. This will maintain clarity and readability.

  Usage & Detailing

  The horizontal spacing within letters is referred to as tracking or kerning, this can be adjusted where necessary, but must never become a negative value. Tracking is the spacing of an entire block of text, which will determine the amount of characters per line and generally effect the amount of white space amongst the text. Kerning is the space solely between two individual characters, this is often only necessary to amend or adjust headings and larger usages of text where the visual quality and refinement of these details are more apparent.

  All of the above are vital in order to effectively maintain the clean and distinctive typographic stylings of which this manual explains and exemplifies.

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  Hierarchy & Arrangement

  Hierarchy & Arrangement

  Once all of the sizing and spacing has been distinguished, further considerations into emphasis and hierarchy must be carried out.

  When more than one point size or weight is required, the difference between the selections must be clearly distinguishable. This contrast will create an effective hierarchy and offer a natural journey throughout a design.

  The typography within the brand has an option of alignments, but these must always be consistent throughout. Main body copy must always be ranged left. Headings should be centred and occasionally left aligned if necessary. All contact details upon corporate stationery is centrally aligned. With ranged left type, it is important to balance the ragged right edge, and with centre aligned type it is important to equally balance line length, when there is more than a single line of text.

  All artwork files supplied must not have their alignments changed and any modifications or further additions must comply to the current design files.

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  2-D Pattern Design

  2-D Pattern Design

  The Levantine brand pattern is a bespoke and uniquely created brand application, which is to be used to full effect across both two and three dimensional deliverables.

  The pattern itself is modest and contemporary, whilst offering nods to existing traditional and geometric Arabic patterns.

  The pattern offers various amounts of applications, but must only ever be used in the six scale variations across its three dimensional implementation. These are shown on the successive pages.

  The two dimensional application of the brand for the corporate stationery will be supplied as complete artwork files and must never modified.

  PATTERN IMPLEMENTATION ON (2D)

  The two pattern variations which are used for the two dimensional side of the brand, create the artwork for the reverse of the stationery items. Only the supplied files may be used and never modified or recreated. See PDF for further directional usage and print specifications.

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  3-D Pattern Design

  3-D Pattern Design

  The Levantine brand pattern is a bespoke and uniquely created brand application, which is to be used to full effect across both two and three dimensional deliverables.

  The pattern itself is modest and contemporary, whilst offering nods to existing traditional and geometric Arabic patterns.

  The pattern offers various amounts of applications, but must only ever be used in the six scale variations across its three dimensional implementation. These are shown on the successive pages.

  The three dimensional application is shown on the individual detail drawings. The pattern artworks will be supplied as individual files for each separate application, which are already cropped to the required heights. The widths will then be provided to allow for the maximum scenarios and the required site specific crop can then be taken.

  PATTERN IMPLEMENTATION ON (3D)

  The height from which each application is taken is always constant within the interior design scheme, but the width is variable.

  The files will be supplied with the maximum widths required to suit the site specifics—although preferred widths are given on the following pages.

  The height of the patterns, must always be as indicated, and must always use the supplied artwork. If however a on the occasion of this being impossible, please refer back to the master pattern file to take a suitable area of the artwork.

  WALL PAPER PATTERN

  A bespoke wallpaper pattern has been designed for the Bar and Semi-Private Dining Rooms. This must always be printed to scale, and never modified or recreated.

  The pattern is designed, so that its vertical repetition is flawless. It is paramount that it is always hung to ensure a perfect repetition match along the cut edge.

  See WP01 for full specification and suppliers details. Manufacturing artwork is produced under control sample ref. no. CP01870

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