This is a live resource. And it will evolve with us as we grow. Here, you will find detailed guidance on how to bring our brand to life with flexibility, efficiency, and most importantly, consistency across all communications.

Guidelines are split into four sections:

1. Topsoe foundations

2. Visual identity

3. Tone of voice

4. Identity in use

1.0

TOPSOE

FOUNDATIONS

Our foundations encompass who we are and what we do. They are the very soul of our brand; the reason we exist.

BRAND CHARACTER

Our character sits at Topsoe's core. It defines who we are, and how we want to appear to the outside world. It is what governs and unites us. It is the force that drives consistency in whatever we strive for.

DECARBONIZATION…

A single word which poses more questions than answers.

We’re here to bring the how.

We’re powerful simplifiers, striving to be the clearest voices in the room.

We combine technical brilliance and well-tuned ability to listen and problem solve.

We’re happy in the spotlight and at the center of the action.

We create confidence and make things happen.

We’re highly extrovert pragmatists.

And we’re all about readiness.

WHAT IS OUR VISION?

To be recognized as the global leader in carbon emission reduction technologies by 2024.

AND HOW WILL WE ACHIEVE THIS VISION?

By being the standout authority on the how and now of decarbonization.

IN OTHER WORDS, SHOWING UP AS A GLOBAL LEADER MEANS WE ARE:

1. Uncompromisingly new

2. Original with visual language

3. Powerful simplifiers

4. A people+ leader

5. Highly extrovert pragmatists

2.0

VISUAL IDENTITY

Each element within our visual identity plays a specific role. But together, these elements form our overarching design approach...

LOGOTYPE

& SYMBOL

Our logotype is the primary expression of the Topsoe brand. Its consistent and considered application is step one in building recognition through our visual identity.

Download Logotypes & Symbols

Logotype & symbol

Clear space & minimum size

LOGOTYPE

& SYMBOL

Our logo can be used in two forms: the full logotype (for primary use) and the shorthand symbol (for use when space is limited).

CLEAR SPACE

& MINIMUM SIZE

Our logo should be treated carefully and applied consistently across all channels.

Clear space

The logo should be protected from other graphic elements by an area of clear space that is equal to 75% of the height of the Topsoe logotype.

Minimum size

The minimum size for logo reproduction is a height of 5mm in print and 20px on screens.

Ratio

The logo’s ratio is exactly 11:2. This should always be preserved, and can be a good way to check the logo is not being accidentally squashed or stretched.

PLACEMENT

The placement of our logo is flexible to best suit its environment, context and format.

Although we have no fixed position for the logo, we should use grid lines to anchor the logo and make its positioning feel deliberate. Positioning the logo in the upper or lower third of the page will help it stand out from the rest of the content.

As a general rule, our logo is a way of signing off key messages. This means that on most applications, our logo will be positioned in the lower portion and/or right-hand side of a page.

The logo should always be anchored to the guides of the grid, to ensure it feels deliberately placed, rather than floating. We can use our grid lines to place the logo in two ways:

1. Contained

Our grid lines 'contain' the logo within its own section (see rollover).

2. Pinpoint

Our grid lines ‘pinpoint’ the logo (see rollover).

SHORTHAND

For specific channels and touchpoints, such as social media, internal pages of documents or small formats, we should use the shorthand version of the logo.

Our shorthand logo should only be applied in black or white. It can be placed within a square or circle, or contained within a section of our grid.

CO-BRANDING

Topsoe led

In co-branded communications led by Topsoe, we position the Topsoe logo away from any partner logos (in its own space).

In these cases, the Topsoe logo should be positioned either to the left of or above any partner logos, so it appears visually ‘ahead’.

We can reinforce the link between the businesses by adding a supporting message that leads into the partner logo.

Equal standing

When placing partner logos alongside the Topsoe logo, we are positioning the businesses as equal partners. This relationship is called ‘equal standing’.

When locking-up logos in this way, we always place the Tospoe logo above or on the left-hand side. We try to ensure that all logos are given equal weighting visually.

LOGOTYPE & SYMBOL MISUSE

1. Don’t place the logo on a busy background.

2. Don’t use legacy logos.

3. Don’t recreate the lettering.

4. Don’t stretch or squash the logo.

5. Don’t place the logo on a colored background (that results in low contrast).

6. Don’t create new logo lock-ups.

COLOR

Color is key to our visual identity. Used correctly, it helps create a clear, recognizable brand and adds pace and personality to our work.

Download Swatches

PRIMARY COLORS

The palette works in both light and dark mode, depending on the platform we are designing for. But keep sustainability in mind. For print, we encourage using more white than black.

Applying our palette in the correct proportions is key for consistency. Lilac, grey and blue are all flexible background colors. Our two brighter colors - green and orange - are used as highlights, to deliver energy and help navigate information.

COLOR REPRODUCTION

These are the approved Topsoe color values. They should be used wherever possible (across all channels and touchpoints).

There are some exceptions, like printing on unusual substrates and painting. These values then become reference points to match to.

Screen

RGB and Hexadecimal color values are identical. They are provided for ease of use across applications, some of which ask for one and some for the other.

Print

CMYK (or ‘process’) values have been determined by print tests on typically available paper stocks.

PMS (Pantone®-matched swatch) values are spot colors that allow greater control over reproduction. Where feasible, PMS should be used (particularly for the Topsoe Bright Green and Topsoe Orange).

When printing on unusual materials, further print tests will help get as close as possible to the intended colors.

Paint

While the Pantone® color values can also be used as a reference for paint colors, when dealing with particular paint brands, the RAL system is the industry standard reference.

Remember to account for lighting, material types and material color.

TOPSOE LILAC

HEX #D7AAFF

RGB 215-170-255

PMS 2562C

CMYK 14-35-0-0

RAL 310 70 25

TOPSOE GRAY

HEX #7D9B9B

RGB 125-155-155

PMS 4185C

CMYK 44-18-34-7

RAL 160 60 10

TOPSOE BLUE

HEX #B4E1FF

RGB 180-225-255

PMS 291C

CMYK 36-2-0-0

RAL 240 80 20

TOPSOE BLACK

HEX #000000

RGB 0-0-0

PMS Black 3C

CMYK 0-0-0-100

RAL 9005

TOPSOE OFF-WHITE

HEX #F0F0F0

RGB 240-240-240

PMS N/A

CMYK 0-0-0-0

RAL 260 90 05

SECONDARY COLORS

For charts, graphs and infographics, we have a secondary palette of 8 colors.

These colors are an extension of the vibrant primary palette and can be used to create additional color hierarchy when needed.

The secondary palette is a supporting element. It must always be used in conjunction with the primary palette.

TOPSOE MID BLUE

HEX #699BFF

RGB 105-155-255

CMYK 62-21-0-0

TOPSOE BRIGHT BLUE

HEX #374BFA

RGB 55-75-250

CMYK 100-51-0-0

TOPSOE MID PURPLE

HEX #AF5AFF

RGB 175-90-255

CMYK 31-62-0-0

TOPSOE BRIGHT PURPLE

HEX #6400C8

RGB 100-0-200

CMYK 71-99-0-0

TOPSOE PEACH

HEX #FF968C

RGB 250-150-140

CMYK 0-41-31-0

TOPSOE DEEP RED

HEX #73141E

RGB 115-20-30

CMYK 0-100-51-51

TOPSOE MID GREY

HEX #C8C8C8

RGB 200-200-200

CMYK 0-0-0-30

TOPSOE DARK GREY

HEX #5A6E78

RGB 90-110-120

CMYK 40-0-0-63

HIGHLIGHT COLORS

For attention to certain elements on a page or an object. In a layout the highlight color should be used as a splash and never exceed more than 10% of the page to create vibrant attention. Only use one of the highlight colors.

TOPSOE BRIGHT GREEN

HEX #CDFF19

RGB 205-255-25

PMS 389C

CMYK 21-0-90-0

RAL 100 80 80

TOPSOE ORANGE

HEX #FF4B00

RGB 255-75-0

PMS Orange 021C

CMYK 0-74-94-0

RAL 2017

COLOR GROUPS

When applying our secondary color palette, it is important to select colors that complement the chosen primary colors.

If we think of the palette as a range of hues, we can select colors that sit closest together within that range.

ACCESSIBILITY

When applying type to colored backgrounds, contrast is important.

We always aim for a minimum standard of WCAG 2.0 Level AA. This requires a contrast ratio of at least 4.5:1 for normal text and 3:1 for large text.

When using black text, using Off White, Grey, Lilac, Blue or Bright Green as a background color is AAA compliant, the gold standard level of accessibility.

For maximum legibility, we only use four of our brand colors for text. Black or white should always be the first choice for text. We can use green or orange to highlight key bits of information.

This illustration shows which of our four text colors meet accessibility standards when applied over our colored backgrounds.

MISUSE

1. Don’t apply color to text in a way that reduces or prevents legibility.

2. Don’t use RGB values for print (or print values for screen).

3. Don’t adjust the brand colors or create new ones.

4. Don’t use secondary colors without primary colors also being present.

5. Don't use colored text on top of photography.

6. Don’t apply the logo in any color other than black or white.

TYPOGRAPHY

Typography gives our brand character.

Like color, our typographic style is distinctive. It promotes cut-through and recognition in communications. And it helps us to maintain consistency, manage hierarchy, and ensure legibility across all applications.

TYPEFACE

Our typeface is Roobert Pro. It's a modern sans serif typeface that provides a clear, informative style to our typography. Its timelessness, legibility and stability makes it a perfect fit for Topsoe.

We use two weights of Roobert Pro — Regular and Bold. These weights provide enough variation to add hierarchy to our designs, while also keeping our typographic system simple.

Roobert Pro supports a variety of languages, including non-Latin scripts such as Greek & Cyrillic.

TYPE HIERARCHY

We want to keep our typographic system as simple as possible. So, we try to limit the size and weight we use. For added emphasis, we can create additional levels of hierarchy with uppercase type.

Here is an example of how to create a type structure with 12 levels of hierarchy, using just 6 type sizes and two weights.

LINE LENGTHS

If we want people to read our messages, they need to be comfortable to look at. Line lengths that are too long or too short can be difficult to read. They should be avoided.

Line lengths for body text work best when between 40 and 60 characters.

Narrow columns

If narrower text columns are needed, shorter lines should fall between 20 and 40 characters.

↪ Hover over image

Do not:

– Use line lengths longer than 90 characters

– Use line lengths shorter than 20 characters

↪ Hover over image

HEADLINES

Longer headlines can be broken up.

Separating headlines in the grid structure can create dynamic and engaging layouts.

SUBSTITUTE FONTS

Fallback fonts are there for when brand fonts are not available. These fonts should only be used on internal business communications.

Roobert Pro can be replaced with Segoe UI, which is readily available on most PCs.

USAGE PRINCIPLES

Consistent typography is key to a distinct visual identity.

Here are some simple steps to follow when using our typeface.

1. Alignment & rags

Text is typically left-aligned. Keep the rag (the shape formed by the ends of lines of text) evenly distributed where possible, but don’t force it.

2. Kerning & tracking

Set the character kerning to 'optical'. Additional kerning between individual letters is rarely needed with Roobert Pro. Character tracking should be set to zero.

3. Leading - sentence case

When setting type in sentence case, we set the leading (the space between the lines) to three point sizes higher than the type size. For larger type (above 30pt), leading should be increased to +20% of the type size.

4. Leading - uppercase

When setting type in uppercase, we set the leading equal to the type size. For larger text (above 25pt), we set the leading at -10% of the type size.

5. Uppercase usage

For emphasis, we can use uppercase for headlines and pull-out information (such as quotes or stats). Limit uppercase use within the type hierarchy and reserve it for shorter blocks of text (10–15 words maximum).

6. Number of type sizes

Wherever possible, limit the number of different type sizes used.

MISUSE

1. Use color or weight to create emphasis, but never both together.

2. Don’t apply text in colors that clash with the background or reduce legibility.

3. Don’t increase the tracking (the space between letters).

4. Don’t use leading (the space between lines of text) that is too small or too big. When in doubt, set leading to ‘auto’.

5. Don’t place type over an image in a way that reduces legibility.

6. Don’t use uppercase type for long paragraphs. Anything longer than a sentence should be sentence case.

PHOTOGRAPHY

Our photography tells stories. Stories about the impact we strive to have on the world. Stories about our people. We use photography to create context for the work we do and show our perspective on the challenges we face.

Please note: Only use licensed images accessible from the Topsoe DAM system.

Download Images

PRINCIPLES

In order to help unify our different types of photography we have three overarching photographic principles – Magnetic, Simple and Impact at Scale. These work together and act as a common thread. In the following sections we explain how these are applied to aerial, people, product and environment shots.

MAGNETIC

This is about creating focus. Our imagery should always have a clear focal point which elevates the subject matter. Imagery that has structure and geometric qualities helps to create an arresting feeling.

SIMPLE

Images should have a clean and simple quality, helping to communicate a story with clarity. Approaching the image with a flat camera perspective is crucial to powerfully simplifying the composition.

IMPACT AT SCALE

From micro to macro, it’s important that our compositions and level of zoom captures impact. At a global scale, imagery of the Earth can be powerful. On the flip side, with people photography it’s about a being close enough to capture emotion and personality.

PERSPECTIVES

To simplify the composition, deliver more directness and ultimately unify our photography we always use a completely flat perspective. This means the camera can be directly above, capturing a top down (aerial) view, or with a direct front on view.

AERIAL

Aerial photography helps show the bigger picture. It allows us to 'elevate' our observations and show the world from a different perspective.

Magnetic:

Geometric forms within an image bring an arresting dynamic to an image.

Simple:

Making it clear what the reader is focusing by avoiding overly busy imagery is essential.

Impact at Scale:

Take a broader view when communicating overarching themes, or a zoomed in approach for specific subject matters.

PEOPLE

We are experts at what we do. So, our portraiture should have the confidence to reflect this.

Magnetic:

Warmth is key to making our people feel magnetic. This comes through by creating a relaxed feel where we capture some of the personality of each individual. Avoiding unrealistic outfits and ensuring individuals are at ease can go a long way.

Simple:

Avoiding filters or treatments and opting for natural light creates an effortless feel.

Impact at Scale:

Adding the working environment as context to an individual helps to bring depth and background to where that person is delivering impact.

ENVIRONMENTS

Occassionaly we will showcase the environments in which we operate. From the labs, to the engineering floors to meeting rooms, it is important we have a consistent feel across diverse areas.

Magnetic:

Human interaction can help to make a scene feel more magnetic.

Simple:

Avoiding overly complex environments can make communication easier.

Impact at Scale:

Switching between macro and micro photography can add variety and pace when needed.

PRODUCTS

With a range of different products and over 150 catalysts it is important that stylistically we showcase these in a clear and consistent way through things such as studio environments and lighting.

Please note: The following images are for illustrative purposes.

Magnetic:

Draw the eye to the product. For example, focus on one catalyst instead of a pile of catalysts. If many a required, opt for a graphically interesting composition.

Simple:

Studio lighting that avoids heavy shadows, with calm backgrounds that clearly show the product will keep it feeling simple.

Impact at Scale:

Showing a small product at a heroed scale creates a powerful dynamic. Tight crops can amplify this further.

MISUSE

1. Don’t use images that are blurred or have no clear focal point.

2. Avoid images that feel digitally created or that have been clearly enhanced/manipulated in Photoshop.

3. Avoid images that are unrealistic or common.

4. If you want to tell a clear story, don’t use images that are visually ‘busy’.

5. Don’t use images that are overexposed, hazy, or lack contrast between the subject and background.

6. Don’t use extreme angles or crops that make an image feel unnatural.

ARROW

DEVICE

Our arrow is bold, simple and direct. This simple device indicates our ongoing journey. It represents the urgency of the challenge we face and the action needed to overcome it. It conveys a message of leadership, proactivity and guidance; all crucial to us achieving our goal. Most importantly, it is a reminder that there is work still to be done.

Download Arrows

CONSTRUCTION

& USAGE

Our arrows have been constructed on a 32px and 48px grid. We have an artworked set of master files which should be used for most applications of our arrows. The arrows are available in two sizes: small (32px) and large (42px). The length of the arrow can be adjusted if needed.

Please follow this simple guidance when applying arrows:

– Always use a master artwork arrow.

– The stroke should scale up as the arrow is scaled.

– Arrows can only be rotated in increments of 45°.

COLOR

Arrows add pace and impact to layouts. Where possible, we add vibrancy by applying arrows in green or orange. When we want to be more subtle, we can use them in black or white.

USAGE PRINCIPLES

Our arrow device is simple but flexible. We use it to help illustrate ideas and support messaging. It helps add a sense of energy and momentum to our layouts, and can be used to aid navigation or highlight key information.

Arrows can be used:

1. As an aid to communicating a theme (such as reduction, progress, growth or performance).

2. As a navigation device in print or digital layouts.

3. As a way to highlight information or elements within a layout.

4. Within diagrams or illustrations to help visualize a journey or process.

5. Along the lines of the grid.

6. So that the point meets a grid line.

MISUSE

1. Don’t apply the arrows in colors other than the four specified.

2. Don’t use multiple arrow sizes or colors within the same layout.

3. Don’t create new arrow styles.

4. Don’t apply an arrow in a way that visually ‘contradicts’ the message.

ICONOGRAPHY

Icons visually represent ideas, objects or processes. They can help communicate messages at a glance, aid navigation of information, and simplify complex ideas.

Download Icons

ICON LIBRARY

We have a library of 52 icons that cover some of the most common themes and topics. These are available in a range of formats and can be downloaded using the link below.

If you need icons that don’t currently exist within our library, please follow the guidance below on creating new ones.

CONSTRUCTION

Our icons are constructed on a 32 x 32px grid. This helps maintain consistent style and proportions across the full iconography set.

Icons are drawn using a 1px stroke. We don’t use fills and we aim to use as few strokes as possible. This means icons maintain a consistent level of simplicity.

Follow these principles to ensure all new icons are drawn to the correct style:

– Align the stroke with the grid whenever possible.

– Keep angles to a minimum and stick to increments of 15°.

– Keep a clear zone of 2px padding around the icon's edge.

– Once complete, scale the icon to 128px size (maintaining 1px strokes) and add to the icon library.

COLOR AND CONTRAST

As our icons use fine key-lines, legibility is important. To ensure optimal color contrast, we only apply our icons in one of four colors: black, white, green or orange.

When used together, icons should appear at the same scale. They should not look heavier or lighter than other icons of the same size. Maintain the same visual weight by using a 1px stroke when designing new icons.

USAGE PRINCIPLES

Here's how we can use our icons in practice:

1. Use icons to support messages and bring stories to life.

2. Use icons at the same scale within illustrations and diagrams.

3. Icons can be used for signage and wayfinding.

MISUSE

1. Don’t use multiple icons at different scales within the same layout.

2. Don’t encroach on the 2px 'safe zone' at the edge of the grid.

3. Don’t vary stroke weights within the icon.

4. Don’t use elements of solid color within the icon.

5. Don’t place icons on top of photography.

6. Don’t use multiple colors within the icon.

GRID LINES

Our grid structures our layouts. It helps frame content, aid navigation, and brings focus to key information.

It's inspired by the structure of the periodic table, which contains the building blocks of all the work we do. Our grid is a flexible system that combines ‘T’ sections in infinite combinations.

GRID LINES

Our grid should never be the dominant feature in any application. It should act as an aid, bringing order to our layouts and hierarchy to our content.

Each section of the grid is formed from a ‘T’ – one vertical and one horizontal line that meet at a cross section. We can combine these ‘T’ sections to create an infinitely flexible system.

This principle can be applied to any size or format.

CONSTRUCTION

The weight of grid lines can change, depending on format. As a guide, we suggest starting at 0.5pt or 0.5px and increasing from there (as needed). Grid lines should be a recessive element within a layout, and the stroke weight should never feel heavier than our text or icons. You can use this as a test to see if you’ve increased the weight too much.

Grid lines should always connect to another grid line or the edge of the page. We can use the top edge of a layout as the horizontal line of the ‘T’ when needed.

When placing multiple ‘T’ sections, you can roughly divide spaces by 2 to place grid lines. This can then be adjusted to suit the content.

USAGE PRINCIPLES

Our grid brings huge flexibility to our layouts. Here are some examples of how our grid works in practice:

1. Use different 'compartments' of the grid to house different content.

2. The grid can be used to hold photography. We can use the grid to split an image or show different zoom levels of the same image.

3. On interior pages of documents, the grid can be used to frame key content.

4. We can highlight sections of the grid to help navigation.

5. Arrows can be placed along the line of the grid.

6. Our logo can intersect the grid lines to give it more prominence.

MISUSE

1. Don’t use more ‘T’ sections than are needed for your content.

2. Don’t allow grid lines to cut through content.

3. Don’t use multiple colors or weights to construct your grid.

4. Don’t place grid lines too close together.

5. Grid lines should only be applied at right angles (horizontal and vertical).

6. Grid lines must connect to other grid lines or the edges of the layout.

GRID LAYOUT

Grids aid the design of our layouts. They provide an organized framework for arranging our visual elements in a consistent yet flexible way. Our ‘T’ grid works particularly well when used with an underlying grid system.

Columns and rows

Margins and gutters

Usage examples

Logo sizing - portrait

Logo sizing - landscape

COLUMNS AND ROWS

Columns

Use to align elements horizontally within layouts. The number of columns can vary depending on the needs of your layout.

A 12 column grid allows good layout flexibility, being divisible by 2, 3 and 4.

For narrower formats where 12 columns may be too many, reduce the number of columns as needed i.e. 6, 4, 3…

Rows

Use to align elements vertically within layouts. As a general rule, we match the number of rows to the number of columns.

↪ Hover over image

MARGINS AND GUTTERS

Margins

Layouts can be used with or without margins. This depends on the needs of the format. Columns and rows should be calculated from the margins.

Gutters

These can be added when needed. You might find them useful on things like editorial layouts (where paragraphs require spacing from each other). Just choose an appropriate size for your format.

↪ Hover over image

USAGE EXAMPLES

Use the same principles for all formats. However, the sizings are adjusted slightly for landscape or square formats.

We mostly use our logo at 2 columns wide, with a 1 column width small version if needed.

If you find you need other logo sizes, just scale-up using increments of the document grid.

LOGO SIZING

PORTRAIT

Different communications will require different logo sizes. And our logo is designed to be used flexibly. On portrait formats, our logo should be equal to 3 columns.

Logo positioning on T Grid

When pinpointing the logo on the T grid, use the logo clearspace to define where the lines end.

Sometimes, we'll need a smaller version of our logo within a layout. In this instance, the logo would be used at 2 columns wide.

If a larger version of our logo is needed, just scale-up using increments of the document grid.

LOGO SIZING

LANDSCAPE

The same principles are applied, but the sizings are adjusted slightly for landscape or square formats.

We mostly use our logo at 2 columns wide, with a 1 column width small version if needed.

If you find you need other logo sizes, just scale-up using increments of the document grid.

DATA VISUALIZATION

Data visualization is a powerful tool. It helps bring context to the important work we do at Topsoe. When used correctly, data can help bring impact and understanding to the messages and stories we are trying to communicate.

DATA VISUALIZATION

Visualizing data can help simplify complex themes. It makes the heavy stuff easier to digest and helps convey points quickly and succinctly.

To be effective, data needs to be distinctive, clear, and deliver meaning while representing key information accurately. We’ve outlined some criteria for achieving successful data visualization.

↪ Hover over images

Principles:

– Keep it simple/visual.

– Flat shapes and color.

– Use colors in groups (similar hues).

– Use orange or green to highlight the key info.

– Only show what is needed to tell the story.

– Choose the appropriate chart type.

USAGE

We categorize our data visualization in two usage types.

When selecting which style to use, consider the purpose and what you want to emphasize.

Story focused

Data visualization can be used to aid storytelling. Charts and data can become abstract elements to communicate concepts, trends and ideas. In these cases, the detail of the data can be reduced to the bare essentials, to quickly communicate the point. Here, the simplicity of the message is more important than the science behind it.

Data focused

When we need to convey specific information, we can increase detail in our visualizations. Here, the specific facts are more important than the wider picture. However, we still maintain our core philosophy of simplicity and ensure that data is clearly displayed and easy to digest. Data focused visualizations could be used in applications such as reports and research papers.

MISUSE

1. Don’t create jarring color groups.

2. Don’t create new colors.

3. Don’t order colors in a way that is not harmonious.

4. Don’t use colors other than yellow and orange to highlight data.

5. Don’t use secondary colors without primary colors also being present.

6. Don’t apply color in a way that will reduce or prevent legibility.

SONIC IDENTITY

Today our corporate identity stretches further than just visual elements with our bespoke sonic identity which introduces emotion and further enhances brand recognition.

Download

With motion being increasingly present in our communication, it is important we amplify potential through a consistent approach to sonic, which helps to deliver brand recognition.

We currently have three longer pieces (Make, Move and Power) that carry different qualities that connect to our offering. Renewable sources such as wind, water and electricity inspired each piece. Although distinctively different, the three are unified by underlying elements.

Always consider the different paces and feeling when selecting one of these pieces as a background element for a piece of motion.

Each track is designed to have a progressive but calm feeling, which means it is important that the sonic doesn’t become too dominant in use.

MAKE

This piece relies heavily on transformation as the subcategory itself. Through morphing and modulation, special textures were created. A close interpretation of the biomass conversion process in a playful way.

MOVE

As Move talks predominently about the fuel for ships and aviation, the mood for this piece has qualities of water and air. Overall, creating a feeling which is calm and almost ethereal.

POWER

For Power, the sound ventures into deeper acoustics to reflect the magnitude of value the power stream has to us. As this touches the topic of electricity, the music mirrors a more heavy and tangible aesthetic, yet still positive.

SONIC LOGO

We have a single 3 second piece specifically for our Logo Intro and Outro.

It is important we only use this specific piece with our logo to ensure consistency and to increase brand recognition. All of our sonic assets can be accessed by clicking the link below.

3.0

TONE OF

VOICE

Tone of voice governs what we say and how we sound. It is the key to communicating effectively with our audiences, and ensuring they remain engaged with our brand.

MESSAGING HIERARCY

Topsoe’s TOV has many jobs. From nailing scientific white papers to creating engaging social media content. So, it’s important we understand how we should sound in every channel, to get the job done.