Elmwood

Global

styleguide

Contents

01 Brand idea

02 Brand voice

03 Brand toolkit

04 Brand activation

05 Keynote

06 Assets & downloads

07 Contact

Brand idea

1.01 Tension

1.02 Our approach

1.03 Elmwood & tensions

1.04 Visualising Tensions

1.01

Tension

In a world of increasing turbulence and accelerated change, we believe tomorrow’s best brands will be built on and powered by cultural tension.

The power of tension

— It connects immediate goals and long-term vision to real consumer needs.

— It sparks dialogue and conversation, deepening connection and community.

— It inspires emotionally charged, culturally relevant ideas and innovation.

— It builds depth, dimension and distinctiveness, driving recall and recognition.

— It unlocks unseen opportunity and market value, creating sustainable advantage.

— It challenges the status quo, stereotypes, and category conventions.

1.02

Our approach

We thrive in the gap between your vision and current reality. And believe our most innovative work and our clients’ greatest successes are fueled by this creative tension.

How we create brand power:

— We illuminate and cultivate the tensions that matter.

— We copy, collect, and recut the best across culture and category.

— We fine-tune the most compelling tensions, teasing out the right questions to ask.

— We design potent and powerful solutions that drive meaning and memory.

The greater the tension, the greater the potential. Great energy springs from a correspondingly great tension of opposites.

CARL JUNG

1.03

Elmwood & tensions

Tension is at the heart of every powerful brand.

It’s the current that connects now to next.

The push and pull that provokes ideas and innovation.

The grit and guts that make brands stick and stand out.

It sparks the heart and opens the mind.

It builds meaning, memories, power, and possibility.

Elmwood.

Tapping into tension to build bolder brands.

OUR BRAND IN A NUTSHELL

We are a global design consultancy. We harness business,

cultural and social tensions to build brand power.

HOW ELMWOOD DEFINES "TENSION"

— Potential energy between opposing forces.

— A universal, intrinsically human, scientifically fundamental driver.

— Something to harness and cultivate, not to resolve or reconcile.

— An opportunity for innovation, growth and progress

Sample TENSIONS

Faster / Better

Tech / Tactile

Complexity / Clarity

People / Profit

Long-term / Short-term

Security / Privacy

Vision / Reality

Self / Society

Tech / Tactile

Us / Them

Have / Have Not

Inclusion / Exclusion

Consume / Conserve

Depth / Breadth

Introvert / Extrovert

Brains / Bull

Head / Heart

Fix / Flex

Get / Give

Icon / Challenger

Poetry / Prose

Logic / Magic

Art / Science

Old / New

Living / Lasting

Relevance / Resilience

Passion / Purpose

Intention / Impulse

02

Brand voice

2.01

Writing

With our revised identity and wider brand idea around tensions comes the ambition to deliver a higher level of writing that captures an economist level of intelligent wit and brilliance. Here are some examples of how we can express tensions through the use of copy.

TENSION IN WORDS

Whilst the tension line with a word on either side can communicate tensions in a really simple way this isn’t the only way concepts of tension can be delivered. We are aiming for a higher level of writing that can be delivered with a degree of wit and intelligence. Below are some sample copy lines that still deliver tension without the need for the red line construct. To deliver this you will need the help of a writer.

03

Brand toolkit

3.01 Wordmarque

3.02 Monogram

3.03 Line of tension

3.04 Colour Palette

3.05 Typography

3.06 Photography

3.07 Illustration

3.08 Pattern

3.01

Wordmarque

The Elmwood wordmarque has been created to be a unique and ownable asset, for our brand, and one that captures the essence of our visual and verbal brand language: tension. The angled line within the letter e is an element that we use to exploit this concept in brand communications. In this document, you will see how we can use many different techniques to bring this to life with distinction and flair.

Dark Elm

Natural Putty

Black

White

Clear space

The image below shows the minimum clear space for positioning the wordmarque. The clear space is included in the logo artwork as the artboard size so just make sure not to crop into the logo artwork or reposition the wordmarque on the artboard.

The clear space is created using the 'm' from the wordmarque rotated 90 degrees.

3.02

Monogram

We have created a monogram for the Elmwood brand. It is a visual shorthand that can be used as an identifier on touchpoints that don’t need to be explicitly Elmwood-branded. Like a hallmark, it should be used sparingly, and in a way that adds value and distinction to an application. For reference, a collection of applications can be found in the Brand Activation section of this document. The diagonal line that runs through the centre mimics our line of tension.

Dark Elm

Natural Putty

Black

White

Clear space

The image below shows the minimum clear space for positioning the monogram. The clear space is included in the logo artwork as the artboard size so just make sure not to crop into the logo artwork or reposition the monogram on the artboard.

The clear space is created using a copy of the monogram at half the size.

3.03

Our line of tension

The red slash is borne of the angled line in the Elmwood monogram. A simple graphic element that can be used as a center point around which content can be arranged. It has been created to visually reinforce our brand idea of tension by contrasting, combining, clashing, and comparing both text and image. It is a key asset that we use to express our brand idea. Our tension line is usually set at 40°. But don’t let this hold you back... be creative. The tension line could also be an object, a painted line, or animated.

Visualising tensions

Whilst the tension line will be mostly seen as a thin red line with copy on either side (see above) it can also be rendered with other effects. Here are a few examples.

Guidance and watchouts

COLOUR

The line should always appear in our brand hot red.

ACCENTS

The hot red adds a flash of vibrancy to our dark green or natural putty. Use it in moderation.

40° ANGLE

In general, try and stick to the 40° angle.

Unless you are a designer activating the brand.

LAYER

Be creative, allow type and objects to interatct

with our red tension line.

REMEMBER

The red line can be simple and graphic but also could be a red object or a paint effect.

3.04

Colour palette

We have a simple and distinctive colour palette comprised of Dark Elm, Natural Putty and a Hot Red accent. Although our approach to colour is simple, it does mean we need to use it in a single-minded way to ensure brand impact and recognition. This style guide has been created to show the right balance of colour that should be present in our core brand communications. (A secondary colour palette is available for social media)

Primary

Dark Elm

Pantone 2217c

Pantone 2217u

cmyk 85 20 40 76

rgb 20 60 60

hex 143C3C

Natural Putty

Pantone 9345 C

Pantone 9080 U

cmyk 7 6 7 0

rgb 244 240 237

hex F4F0ED

Hot Red

Pantone 2347 C

Pantone XXXX U

cmyk 0 100 100 0

rgb 243 20 20

hex F31414

Secondary

Mono Black

Pantone Black C

Pantone Black U

cmyk 0 0 0 100

rgb 0 0 0

hex 000000

Neutral White

rgb 255 255 255

hex FFFFFF

Guidance and watchouts

CREATE PACE

Don’t go too heavy with any one colour. Use all our colours to create pace in communications.

GET CLEVER WITH COLOUR

Use the dark green to chapter and the putty for text pages. This will help navigate reports and presentations.

CONSIDER THE MEDIUM

Ensure you are using the correct colour space for the medium you are working in.

UNCOATED Vs COATED

Remember that coated and uncoated stocks will appear slightly different.

a hit of red

We don’t use red full-bleed, instead, it is used to deliver a hit of vibrancy in small ammounts.

SECONDARY COLOURS

Black and white are very much our secondary colours and can be used when we need to be more neutral. eg: a canvas for showing creative work or to add pace in social media.

3.05

Typography –

GT Super

Our typographic family is comprised of two contrasting typefaces. GT Super and Maison Neue. GT Super has an elegant and crafted personality, and gives our brand communications a premium look and feel. It has a strong editorial look which works well with the gravitas of our copywriting. We can also use GT Super for strong pieces of statement copy such as quotes. The light cut is predominant whilst the regular weight is reserved for adding emphasis or a call out within a body of text. (as it appears heavier).

GT SUPER LIGHT

AaBbCcDd12345

GT SUPER REGULAR

AaBbCcDd12345

Maison Neue

The second typeface in our font family is Maison Neue. A modern sans serif that provides a contrasting personality to GT Super. Maison Neue provides a foil to GT Super and is used primarily for larger volumes of text and body copy. Please refer to the Brand Activation section for a full range of examples of how we use it. (All three weights are available in italic cuts too.)

MAISON NEUE LIGHT

AaBbCcDd12345

MAISON NEUE BOOK

AaBbCcDd12345

MAISON NEUE BOLD

AaBbCcDd12345

Supporting

Typography

We have a supporting set of typefaces, which are used when our primary typefaces are unavailable. Times and Helvetica have been selected to mimic GT Super and Maison Neue as close as is practically possible and are used for applications such as external presentations and email communication where only system fonts are available. Use these fonts when sending documents to clients. (who will not have access to our house fonts). 

Times

AaBbCcDd12345

Helvetica

AaBbCcDd12345

Guidance and watchouts

templates

In most everyday uses like word templates and keynotes, font usage will be templated for ease of use. Don’t bring other fonts into play.

Creative compositions

For Creatives, there is the opportunity to explore more creative typographic pairings that mix our two fonts.

LAST RESORT

Times and Helvetica should only be used as an absolute last resort when our house fonts are not available to use.

3.06

Photography

Choices

Beyond showing our work, when choosing imagery it's important that the palette complements our brand and that the quality of the imagery is paramount. The carefully considered use of reds, dark greens, and naturals will support and amplify our overall look and feel but couple this with more muted tones and pastels. Go for images that are less expected and offer a more conceptual viewpoint, www.stocksy.com is a good source. Over time we will create a bank of images that can be used by all to give our comms and keynotes a cohesive look and feel. In the meantime be aware of image licensing.

Guidance and watchouts

extra help

If necessary, get a designer to help your source your conceptual image selection.

curate

Curate a set of images that sit well together and look good as a set.

conceptual

Go for the more conceptual subject matter.

Avoid the more obvious/expected imagery.

COLOUR PALETTE

Think about colour themes. Look for the inclusion of hot red or an associated pastel theme such as pinks and warm naturals.

SEEK INSPIRATION

Look to our website and previous credentials presentations to gain inspiration from how others have used found imagery.

Portrait photography

We have commissioned new portrait photography of our whole team. In order for these to appear cohesive globally, it's important that we follow some simple guidelines when working with local photographers...

LOCATION

Always to be shot outdoors.

Interesting, urban backgrounds.

LIGHT

Not too bright, avoid high noon.

Early morning or late afternoon are best.

COLOUR AND TONE

Muted hues are more preferable.

Avoid heavy contrast and patterns.

Ask the photographer to use a polarising filter.

APERTURE

Use a shallow hallow depth of field. Shoot with full-frame and a camera using 50mm 1.4 or 50mm 1.8, on the widest aperture: (1.4 or 1.8). 

ATTITUDE

The subject should look into the camera.

Taken at head height or slightly higher.

CLOTHING STYLE

Smart casual clothing.

Think out for a meal after work. (Not Nando’s!)

CROPPING

Slightly below the waist.

Plenty of headroom above subject.

3.07

Illustration

Usage

Over time, illustration is another asset that we can use in our brand toolkit. It helps us convey our distinctive Elmwood approach and personality. We would like to adopt a broad range of eclectic illustration styles with the only linking aesthetic being our colour palette and the power of the line... A hand-drawn line, a geometric shape, or a random squiggle. Also, consider the use of bespoke typographic illustrations. It's early days for illustration but as we begin to include more illustrations they will be added here to inspire others.

Guidance and watchouts

Concept

Use illustrations thoughtfully and not just as decoration. Images should be used to reinforce an idea, make a point, or embody a concept.

Colour

Stick to our colour palette and use it to support the idea within the image. You don't need to use the full palette - images can also be monochromatic.

line

Our tension line can be used in illustration, either literally or with freer interpretation.

style

Illustrations can be in any style providing that it can support our colour palette. Graphic is best.

Commission

Wherever possible, commission a professional illustrator to create an original piece of work.

tints and transparency

Don't fade the colours using tints, but you may use blending modes (or even better, their real life equivalents such as overprinting).

3.08

Pattern

We have created a simple pattern that is based on the line of tension. We can use the patterns as a secondary asset within brand communications, not as a lead element. A good example of where it could be used would be the endpapers in a piece of literature or printed on the inside of an employee starter pack. Note the important addition of red is always used in moderation, in this example picking out a single line of tension. 

04

Brand activation

4.01 Digital – Website

4.02 Digital – Social media

4.03 Digital – Keynote

4.04 Print – Stationery

4.05 Print – Literature

4.06 Motion

4.07 Merchandise

4.08 Interiors

4.01

Digital –

Website

You will be aware of our new website. Here are some sample pages so you can see how our brand is performing in a digital space. You can start to see how we can use colour and space to really set the pace in communications.

4.02

Digital –

Social media

Below are some examples of how our typography, colour and image can come together powerfully in communications on social media platforms.

4.03

Digital –

Keynote

Below are some examples of keynote slides taken from our toolkit. We will unpack this in detail later.

For detailed guidance on building a Keynote deck, please see the Keynote section below or click here.

4.04

Print –

Stationery

Our stationery has been created in keeping with the new brand look and feel. We have sourced paper stock from Fedrigoni that closely mimics our brand colours. As this is an uncoated stock, uncoated colours are to be specified along with a hot red foil. See below for print specifications. Artwork can be downloaded here.

Print Specifications

paper stock for natural putty

Fedrigoni Sirio

Colour: Perla 

paper stock for dark elm

Fedrigoni Sirio

Colour: Royal Green

embossing / debossing

Where budget and the medium allow, our logo and monogram should be either debossed or embossed into the stationery.

Foils & FINISH

Use a dark green gloss foil on dark green stock

to create a tone-on-tone effect with our logo or monogram. Use a white gloss foil on dark green to highlight key text or a monogram. Use a red gloss foil to highlight our tension line.

4.05

Print –

Literature

At the moment we have not created any true print projects using the new elmwood brand. This will change over time, however, below are some examples to fire your imagination and spark creativity. Note the principle of layering when positioning the tension line with more creative, typographic, or illustrative compositions.

4.06

Motion

Here are a few examples of our brand identity in motion. Use these as a guide when creating animation that delivers pace, and energy. Note the creative use of our tension line through image and typography.

Brand Film

4.07

Merchandise

Everyone loves merchandise. Here are some examples of how the brand can live on physical examples. These are intended as inspiration. As we create new material we will photograph and place it here, along with potential suppliers and manufacturers.

Some of these examples have been created using www.awesomemerchandise.com

4.08

Interiors

It’s early days for using our new brand to create environmental branding, but here are some examples of how it could come to life using both copy and more simple brand elements.

05

Keynote 

5.01 Building a keynote deck

5.02 Case studies – Single page

5.02 Case studies – Multi page

5.03 Case studies – Long hand

We have developed a new keynote toolkit. This keynote document has been developed to contain all you will need to put a pitch or client presentation together. The templates have been created in the correct typefaces and brand colours. The template works on a four-column grid with set margins to help you put together something befitting a tier-one agency.

5.01

Building a keynote deck

DOWNLOAD THE MASTER

Always copy the latest version of the keynote toolkit from the server as updates will happen regularly and you might miss something new and useful.

Storyboarding

Start by chaptering your presentation.

The slide master will allow you to do this quickly and easily by dragging the templated slides into place.

MASTER GRIDS & GUIDES

The template is set up using a 4 column grid. Use this to help you layout the slides and keep everything tidy. (Go to view and then see master guides). We must avoid simply throwing objects onto the page.

FONTS

All fonts have been pre-set so there is no excuse for using the wrong fonts. But you will need to make sure the elmwood fonts are loaded on your system (Check). If they are not present speak to Darren in IT.

OUR COLOUR PALETTE

The elmwood colour palette has been pre-loaded so again there is no excuse for this being wrong. Lighter tonal values of dark elm are available for things like graphs and charts.

THE MASTER ELMWOOD NARRATIVE

Considerable work has gone into our POV. More often than not, this section should be used as a whole.

However, there are some options on slides to help customise your deck and land points differently.

SAmple copy pages

There are a multitude of different templates & text layouts to help you arrange your own copy and image content.

ADDITIONAL HELP

If you need any help or guidance, plan one of the design team to help you with your presentation.

We will be providing training on how to effectively use the new template.

5.02

Case studies –

Single page

We need different types of case studies for different situations. Single-page case studies allow us to include more examples of work in a single presentation. However, they do not allow us to show off the work in a more overt manner due to space. Over time these will all be framed against tensions but in the meantime ensure you have a narrative that covers The Challenge, Insight, and Outcome.

Guidance and watchouts

BREVITY

For a single-page case study, keep an eye on the word count. The copy needs to be brief and to the point. Don’t just make the type smaller! (Be consistent)

MOSAICS & patterns

Use the grid system to place images in the pre-created mosaics and patterns. Or get a designer to create new layouts.

PRE-HEADER

The small red pre-header used to cover off the sector in this example should only be used in capital letters, never lower case. Please use the template.

Optimise image sizes

Please place JPEGS at a sensible size.

Avoid using images that are very high res.

Use the “optimise presentation” function to make your deck smaller if necessary.

CUTS & WEIGHTS

Respect the typographic cuts and weights in the template master... don’t change them.

5.02

Case studies –

Multi page

Next up are multi-page case studies. These are based on the single-page case study format but include further pages for imagery inclusion. These allow us to showcase the work in a more impressive manner due to more space. The templates are set up so you can drag and drop new imagery. Use some of the above watch-outs as guidance.

5.03

Case studies –

Longhand

Longhand case studies are used to tell a full, detailed case study story. They may be especially helpful for a very large project with a lot of parts and aspects that are worthy of explaining in depth. These really do romance our work and will require time and effort spent on the story and image creation.

06

Assets & downloads 

6.01 Logos

6.02 Graphic Device

6.03 Fonts

6.04 Photography

6.05 Patterns

6.06 Keynote & Office templates

6.01

Logos –

Wordmarque 

This section provides direct links to download all our key assets and templates...

Below are the different versions of our wordmarque.

Monogram 

This section provides direct links to download all our key assets and templates...

Below are the different versions of our iconic e marque.

6.02

Graphic Device

Below is the artwork for our line of tesnion, graphic device.

6.03

Fonts

Elmwood has purchased font licenses for our house fonts GT Super and Maison Neue. If these are not already installed on your Mac, they can be downloaded below. 

GT Super

AaBbCcDd12345

MAison neue

AaBbCcDd12345

6.04

Photography

Stocksy.com images

List of approved Elwood imagery at Stocksy.com

6.05

Patterns

Below are artwork links for two graphic patterns based on our line of tension repeat.

Here is a simple pattern based on our line of tension.

And again in close up.

6.06

Keynote & Office templates

Keynote

At the moment the ability to download this template is not available through Brandpad due to file size restrictions. Furthermore, before using the keynote, a training and induction session is required.

Word & excel

Use these document templates to create communications for Elmwood. Make sure you select the correct template for your requirements.

07

Contact 

07.01

Contact

If you have questions about how the assets are used, please get in touch.

ANDREW LAWRENCE

Global Executive Creative Director

+44(0)7912 124854

andrew.lawrence@elmwood.com

Elmwood

27 Gee Street

London EC1V 3RD

England

WEBSITE & SOCIAL TEAM 

Meg Beckum

meg.beckum@elmwood.com

Stacy Agius

stacy.agius@elmwood.com

Dee Dalencour

dee.dalencour@elmwood.com

Rachel Ptak

rachel.ptak@elmwood.com