© MMXXI VESPUCCI GROUP LLC
Vespucci
Design System Documentation
Updated May 2021
This document outlines the core visual language to communicate Vespucci’s visual identity. Throughout all media—publications, websites, advertising, signage, products, letterhead, or business cards—layout, color and typography should be orchestrated to impart and solidify a unified signature.
Master Asset Folder
The Vespucci identity system is based on simple rules. It is bold and straightforward. Keep this in mind when utilizing our brand assets. We have three main colors and typically set the wordmark as wide as the surface it lives. We keep things simple, strong and bold.
Meet the Vespucci Wordmark. A wordmark or logotype is a distinct text-only typographic treatment of the name of a company. The Vespucci Wordmark is a study in extremes: the ultra-thin white space creates a spatial rhythm between letters and counters. Because of it’s nature, specific versions of the mark should be used for specific sizes.
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We have three different colorways in seven different sizes: Black, White & Red in 01 (xxl), 02 (xl), 03 (l), 04 (m), 05 (s), 06 (xs) & 07 (xxs). Black and white wordmarks have been optically corrected for dark and white backgrounds. Please use the correct version of the wordmark file based on the background color the wordmark will be on top of. Use the wrong asset and we risk legibility.
Size 06 and 07 have been specially designed for extra small usecases. Size 06 (xs) should be used for instances smaller than 30px height (screen) or 1.5in width (print). Size 07 (xxs) should be used for instances smaller than 20px height (screen) or 1in width (print).
Our secondary mark is the Vespucci “paperclip” logo. Our logo references media, specifically Vespucci’s media-agnostic approach. The logo and wordmark should always sit separately from one another. There is no “lock-up” where they sit side by side. The “paperclip” logo is perfect for small square spaces like avatars and social icons.
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Our brand typeface is ‘ABC Synt’ by Dinamo. We use it primarily for headlines and impactful moments. ‘ABC Synt’ reimagines the typefaces documented in The Practise of Typography (1900) by Theodore Low De Vinne—a book that tells the story of the Scotch Roman style.
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Our secondary typface is ‘ABC Diatype’, a warm yet sharp grotesque, ideal for text and reading on screen. We use Diatype for larger blocks of text, for categories and tags, or when we need to add a more serious, modern feeling to a design or layout.
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Web: #D42525
Print: Pantone Red 032c
C00 M90 Y76 K00
Web: #000000
Print: Black
C00 M00 Y00 K00
Web: #FFFFFF
Print: N/A
CNA MNA YNA KNA
We primarily use three main colors for our identity: Vespucci red, black, and white. When designing applications for the brand, please keep applications to two colors. Make sure these colors are only used with creating applications when the primary focus is Vespucci as an entity.
Example Print Specs:
Offest Printing 2 sided
Black & Pantone Red 032c
100# Mohawk Antique Vellum PC White
Duplexed after printing
Pantone Red 032c edge painting
Our key design decisions can utilize the red background, or simply use a combination of black and white. Pictured here is an example invoice design.
Above is an example of a piece of communication with the Vespucci brand at the forefront. We use our signature red background, along with elements of black and white to impart a clear visual language.
The following elements of our identity are centered around collaboration. Our core visual language is extended through the work Vespucci develops and promotes. Displayed, like a badge of honor, are the collaborators involved explicitly in every story.
A key element to our identity is the “credits lock-up” system. Vespucci collaborates with journalists, artists and other creatives to shape and share their stories. This collaboration is reflected in the crediting of creators whenever possible using this lock-up. It takes inspiration from old film cards, borrowing from this vernacular in a contemporary way.
Our lockup should always feature “a Vespucci story” on the first line. The following lines should add a copyright message, followed by the credits for each piece. Please credit collaborators with their title and a colon before their name. Please also only use a single space to separate each collaborator. The key is to create a solid typographic block: allow for credits to flow from line to line, the goal is a tight lock-up of text. The credits lock-up should always be flanked with the current year and the Vespucci “paperclip” logo or one of Vespucci’s alternative marks below.
Figma Template
Along with the main Vespucci “paperclip” logo we have various alternate marks to use within a lockup. These alt marks envision a Vespucci of another time, multiverse, era, etc. They can be used interchangeably, but we suggest picking an alt logo that matches the tone of the story it is accompanying.
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The system begins to come together when we apply these design elements to our podcast artwork. Our podcast system utilizes typography and color to convey the tone of each story. the artwork itself follows a strict layout convention. the title of the story is fixed to the top of the podcast square. The credits lock-up is fixed to the bottom.
Figma Template
Above are a selection of typefaces for potential future releases. The typeface chosen should be set as large as possible on the artwork. This consistency will maintain a visual language across releases.
Figma Template
We have an exploratory color palette in place for future projects and releases. This palette can be utilized in the Figma template to create podcast artwork.
Figma Template
Our identity activates when combined with our system established for a story’s artwork. The Vespucci wordmark can be paired with other stories in various ways.
The vespucci identity can recede when necessary, adopting a color from a specific story’s artwork, for example.
The system can be extended into merch, here showing the story’s artwork system applied to a custom matchbook or tote bag.
The above email templates illustrate our identity’s flexability: When a Vespucci related message is communicated, we fully embrace our bold red background. When our messaging emphasizes a story, the color and imagery can adapt to the story’s artwork system.
