BRAND GUIDE

We turn moments into movements.

Brand Identity | OUR LOGO AND WORDMARK

This is our logo and wordmark.

Be sure all client-facing materials and

logo-wear feature this logo. Note, the
capital “A” and the lower case “c” and
the fact that Andculture is a single word.
 Brand Identity | OUR LOGO AND WORDMARK

T
he logo and wordmark
may be presented in
four ways.
• Ampermint on Magic
• White on Ampermint
• Ampermint on White
• Ampermint on Fathom

W
hen color isn’t an option, we
present the logo and/or word-
mark in white on black or black
on white, but never grays or screens of black.
 Brand Identity | OUR FONTS

O
ur fonts are clean, classic and help focus attention on what matters in our
written communication. Think of our fonts as an extension of our brand voice
with each variation adding a shade or nuance to the “sound” of that voice.

Merriweather italic bold light

Merriweather is a Google Font and comes with a bevy of italics and varying weights
that can be used for emphasis in body copy.

Lato italic bold hairline

Our choice for headlines, Lato also works well as a means of way-finding within a
document. It comes with six weights and italics and, like its sibling font, is clear, scal-
able, and free.
Brand Identity | OUR FONTS HOW WE USE THEM

One Simple Rule

We use Merriweather for the body text of documents,
proposals, letters, etc., and use Lato for titles, sub-
titles, headers, and headlines. Pull quotes or graphical
elements that use typography may be either font.
 Brand Identity | OUR FONTS—ALL CAPS

All Caps or Not All Caps

We may use ALL CAPS in headlines and titles if desired, (see above
subtitle) but we never use ALL CAPS in body copy because it reads as
“shouting.”
 Brand Identity | OUR FONTS BOLD, ITALICS, QUOTATION MARKS

Bold & Italics But, in headlines, titles, pull

quotes or other graphical text “Quotation
Marks”
Likewise, in body copy, we
elements, we may use bold,
only use bold for empha-
black or italics for emphasis or Speaking of quo-
sis on specific words or
to help the elements stand out. tation marks, your
phrases but never for an
entire sentence. Ditto for For example, in this pull default should be
italics, which we use spe- quote, we may use a bold set to smart quotes,
cifically when necessary to font. And we use italics, not never straight
underscore terms of art or quotation marks, to distin- quotes.
references to the titles of guish Brave New World as a
specific works. book title.
Brand Identity | OUR COLORS

O
ur palette of complementary colors
was chosen to signify the scope of
our beliefs and values. The follow-
ing pages show how to use them for print
and digital use.
Brand Identity | OUR MAIN COLORS PRINT
PMS 3385
Ampermint Closest CMYK: 62, 0, 44, 0

O
ur Main Print PMS 380
Party Parrot Closest CMYK: 18, 0, 87, 0
Colors are
shown here in
PMS 2587
both their Pantone Purple Crayon Closest CMYK: 58, 83, 0,0

(PMS) and closest

CMYK color equiva- PMS 2635
lents. Use these when Empower Closest CMYK: 21, 29, 0, 0

designing material
that will be published Magic PMS 276
CMYK: 88, 84, 50, 63
in print.

Fathom PMS 7476

CMYK: 92, 52, 54, 33
Brand Identity | OUR SECONDARY COLORS PRINT

PMS 580C
Playing Field CMYK: 24, 5, 42, 0
PMS converts to 4-color

PMS Cool Gray 5C

Keystone CMYK: 31, 25, 25, 0
PMS converts to 4-color

Circus Peanut PMS 475C (more peach)

CMYK: 0, 11, 17, 0
PMS converts to 4-color

O
ur Secondary Print Colors are shown here in both their Pan-
tone (PMS) and closest CMYK color equivalents. Use these
when designing material that will be published in print.
 Brand Identity | OUR MAIN COLORS DIGITAL
HEX: 33CC99 RGB: 51, 204, 153
Ampermint

O
Web safe

ur Primary Digital Colors are

shown as both HEX colors and HEX: CCFF33 RGB: 204, 255, 51
Party Parrot Web safe
their RGB equivalents. These are
intended for use in digital and online de-
sign projects. Note that some of these Purple Crayon HEX: 8347AD RGB: 131, 71, 173
Not web safe, goes pink, can
change to HEX: 663366 for a
colors are natively websafe (meaning purple that is similar for web.

they appear the same across HEX: DOC5FB RGB: 208, 197, 251
Empower Not web safe but close
web experiences)
whereas others may HEX: 1A1A31 RGB: 26, 26, 49

require the use of Magic Not web safe. Goes gray or navy,
can change to HEX: 000033 for a
dark blue that is similar for web.
a close, websafe
equivalent as HEX: 0B4650 RGB: 11, 70, 80
Fathom Not web safe. Goes darker teal or blue.
Can change to HEX: 003333 for a
indicated. dark teal that is similar for web.
Brand Identity | OUR SECONDARY COLORS DIGITAL

HEX: E8FFC9
RGB: 232, 253, 201
Playing Field not web safe,
goes more yellow

HEX: ADADAD
RGB: 173, 173, 173
Keystone not web safe,
goes darker

HEX: FEE5CF
RGB: 254, 229, 207
Circus Peanut not web safe,
goes more pink

O
ur Secondary Digital Colors include the above. We use these
HEX colors and RGB equivalents for screen and web design.
Some colors are web-safe, meaning they remain the same
across the web, while others shift to the closest equivalent since
there is a limited set of web colors.
Brand Identity | OUR LOGO COLOR AMPERMINT

T
he color Ampermint is an essential part
of our brand's DNA. Think of it as repre-
senting the one special gene that makes
Andculture more human centered than, say,
chimpanzee centered. It should be used with in-
tention, respect and applied only when depict-
ing a direct relationship to Andculture and its
story. It should not be used as a minor graphical
element or accent. It is like our school color and
should be regarded with an element of pride.
 Brand Identity | OUR LOGO COLOR AMPERMINT

F F
or example, Ampermint may or example, Ampermint may
be used as a logo or wordmark be used as a logo or wordmark
color, background color, title or color, background color, title or
heading color, subheading color when heading color, subheading color when
related (as above), drop cap color in a related (as above), drop cap color in a
main paragraph, or a pull quote. main paragraph, or a pull quote.

“For example, For example

Ampermint may be Ampermint may be used as a title
or heading color, subheading color
used a pull quote.” when related (as above).
 Brand Identity | HOW TO USE OUR COLORS

Our Main Colors

We use Ampermint, Party Parrot, Purple Crayon, Empower, Magic, and
Fathom for the main elements of a design.

Our Secondary Colors

We use Playing Field, Keystone, and Circus Peanut for details and
supporting elements, to add contrast and depth to a design.

Mario Gogh on Unsplash

 Brand Identity | HOW TO USE OUR COLORS BACKGROUNDS

Meet Our Colors Meet Our Colors

Use our main colors for a back- Use our main colors for a back-
grounds with a strong statement. grounds with a strong statement.

Meet Our Colors

Use our main colors for a back-
grounds with a strong statement.

Meet Our Colors Meet Our Colors

Use our main colors for a back- Use our main colors for a back-
grounds with a strong statement. grounds with a strong statement.
 Brand Identity | HOW TO USE OUR COLORS HEADERS
Meet Our Headers Meet Our Headers Meet Our Headers
And the Subheads And the Subheads And the Subheads
Try these colors for headers. Try these colors for headers. Try these colors for headers.

Meet Our Headers Meet Our Headers Meet Our Headers

And the Subheads And the Subheads And the Subheads
Try these colors for headers. Try these colors for headers. Try these colors for headers.

Headers can be main colors or white. Subheads can be main or secondary colors,
excluding keystone.

Try these colors for headers.

Brand Identity | HOW TO USE OUR COLORS KEYSTONE

W
e use Keystone for
captions, hairlines
and minor elements
that require a neutral color.
(See left) We may also use it
against white for copy.

Image by Brian Jeong

 “As with our design process, Andculture’s

Brand Identity | OUR VOICE tone is human-centered: warm, smart,

clean and occasionally a bit witty (but not
in a snarky way — more self-effacing).”

A
s with our design process, Andculture’s tone is human-centered: we’re warm, smart,
direct and occasionally a bit witty (but never in a snarky way).

Our language does not presume or condescend but invites and assures. The goal is to pro-
mote positive conversation by educating without patronizing. Above all, we strive for clarity.
 Brand Identity | OUR VOICE IN PRACTICE

W
e also emphasize authenticity with familiar, accessible language that is
innately human. No legalese, business bromides or cliches. For example,
we “value creativity” more than we “think outside the box”

Though our work will occasionally invoke academic-sounding concepts (“hu-

man-centered design,” “design thinking”) we avoid jargon whenever possible.

When it’s necessary to invoke a term of art, follow up with a plain-spoken defini-
tion. For example, “Human centered design” is “an approach to problem-solving
that seeks solutions by keeping a human perspective central to the process.”

We also avoid slang — though non-offensive slang (i.e. “mic drop”) can occasion-
ally be used sparingly and only to punctuate an idea with a note of self-conscious
humor. Like, wait, does this sound too draconian? Fuhgeddaboutit.
 Brand Identity | OUR VOICE STYLE TIPS

1 Proper grammar and spelling is paramount. Fortunately, there are

plenty of tools to help us get it right — though it’s always good to
double check.

2 Use active voice and always avoid passive voice. For example:
Passive: For a logo, we use an ampersand.
Active: Our logo is an ampersand.
Passive: “And” is what an ampersand means.
Active: Ampersand means “and.”

3 Avoid using overly affected or flowery language (Hast thou read my email?”), negative language
or overly positive language that comes across as trite, saccharine or inauthentic (“You’re the
bestest client ever!”).
Brand Identity | OUR VOICE DO’S & DON’TS
Don’t describe our organization as an “agency” or “design com-
pany.” Do say we are a design firm or more specifically, a hu-
man-centered design firm.

Don’t say “empathy,” which many human design firms use ad nause-
um. Do say “radical understanding,” which is a more invigorating un-
derstanding of the same idea.

Don’t say we’re fixing “broken realities” or intentionally “clashing per-

spectives.” Do say that we are leading a leading design firm advancing
human-centered design for a more habitable, just, and equitable world.

Don’t say we are not fixing tomorrow.

Do say we do design — right here, right now. Today.
 New Rules

1. We are a leading design firm advancing human-centered

design for a more habitable, just, and equitable world.

2. We value radical understanding.

3. We don’t design for tomorrow.

We design — right here, right now, for today.

4. We even have a manifesto.

P.S. And, we capitalize our name.
 Competitor Positioning | FROG

F
rog makes the case that they’re shaping the future of
design with words like anticipate, lead, pioneering. They
had many early wins with beloved brands, which they’ve
made integral to their story. Their interest in their past not-
withstanding, their value proposition is that they can help
“realize the future.”
 Competitor Positioning | IDEO

I
deo is a huge global player that has institutional gravi-
tas. They were early among the first to incorporate human
centered design and design thinking into their process.
They also boast a network of projects that include a “universi-
ty,” a laboratory, and a nonprofit. Not shy about seeming dif-
fuse, they want to be everything to everybody.
 Competitor Positioning | R/GA

R
GA is pursuing “Radical Collaborations” and “auda-
cious combinations” and ultimately a “more human
future.” Here, they optimistically regard “human” and
“humane” as synonymous. They’re also “humanizing tech-
nology” but, interestingly, have resisted the term “human
centered design” and instead use their own coinage of “con-
nected design” with an emphasis on creating brand systems.
 Brand Positioning | CORE VALUES

I
n the grammar of human experience, everything that mat-
ters starts after the “and.” That’s why our name is Andcul-
ture. Because culture is what makes us human and as a hu-
man-centered design firm, it’s integral to everything we do.

We Solve for Today not Tomorrow.

We focus on solving problems affecting people today not to-
morrow. We’re not futurists, we’re realists because today’s
problems are real. We don’t solve for x or y, we solve for
here and now.

We turn Moments into Movements.

Our goal is to enact positive global change by crafting inte-
grative, life-friendly solutions that benefit the world at large
through our work with our clients, partners, and those we serve.
 Brand Positioning

Andprogress
Design is not a deliverable, it’s a way of thinking. We face
tomorrow’s challenges by first addressing today’s.

Andinvention
We create human-centered design solutions that improve
education, healthcare, and civic systems for organiza-
tions and brands and the communities they serve.

Andtrust
We shouldn’t get lost finding loved ones in a hospital; stu-
dents shouldn’t panic at a chalkboard when they learn differ-
ently; finding a job shouldn’t be a full-time job.
 Brand Positioning | CONTINUED

Andcommunity
We’re interested in the world that surrounds us and what we can do
with it. We made our headquarters from an old waterworks building,
tapped the creative community in Pennsylvania’s favorite ’Burg.

Andculture
Culture is encoded into every human endeavor. So, that’s where we
start. We think holistically about the impact design has on culture
and take the responsibility to make it better — for everyone.
 Brand Identity | EMAIL SIGNATURES

E
David Hickethier mail signatures look like this. Use the Lato font and
the Ampermint star and logo. Black for all copy ex-
Founder & Owner cept for change agent, which is keystone.

andculture.com
717.233.2881

change agent
 Persona | THE WORLD'S BEST CLIENT

MEET WILL. He is a change agent on a mission. Though wildly talented, he’s new
to the role. This isn’t his first rodeo but it’s his kickiest one yet.

He’s been tasked with leading a new initiative. Not to worry: Will
lives for this kind of challenge—he isn’t interested in maintaining
the status quo. He’s in this for impact. Will is also a learner and he’s
an informed, engaged citizen. His passion, comfort with ambiguity,
and innate curiosity speak to a unique path, and maybe an entre-
preneurial endeavor or two.

He is an expert in more than one domain and thrives at the in-

tersection of technology, experience, and marketing.
He’s the world's best client.
 Our Process
Category
Universal Opportunity
Human Truth
Here’s With courage,
Partnering with us
helps your organiza-

how we Big
a moment can become tion’s offerings
achieve meaningful
a movement.

Idea
and lasting cultural
come up impact.

with our Design solutions

today that last beyond

big ideas. u r a l
Cult
tomorrow. Use design

x t i n ct i o n
e t
to enable those seeking

Co n t D i s to create positive
cultural impact here
Culture isn’t an and now (otherwise
Progress is accident, it’s designed.
possible but inhibited there may not be a
Our holistic, life centered than and
by flawed processes design process com-
that lead to lesser there).
bines ethos and exper-
results. tise to improve
shared experi-
ence.
Our Vision

Our Vision is... To become a

leading global design firm,
building better solutions for
everyone, everywhere.
Our Mission

Our Mission is... To design

innovative, sustainable
solutions to people’s
problems today.