Make a Wish Foundation Final

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MakeAWishFoundation

Identity Guide

3Contents

Non-Profit Synopsis

Mission Statement

Taglines

Logo Specifications and Usage Guide

Corporate and Personal Stationary Packages

Advertisement Concept and Design

Advertisement Applications

Promotional Items

Designer Biographies

Table of Contents

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Since 1980, the Make-A-Wish Foundation has enriched the lives of children with lifethreatening medical conditions through its wish-granting work. The Foundation’s mission reflects the life-changing impact that a Make-A-Wish experience has on children, families, referral sources, donors, sponsors and entire communities.

The Make-A-Wish Foundation was founded in 1980 after a little boy named Chris Greicius realized his heartfelt wish to become a police officer. Since its humble beginnings, the organization has blossomed into a worldwide phenomenon, reaching more than 161,000 children around the world.

Although it has become one of the world’s most well-known charities, theMake-A-Wish Foundation has maintained the grassroots fulfillment of its mission.

A network of more than 25,000 volunteers enables the Make-A-Wish Foundation to serve children with life-threatening medical conditions. Volunteers serve as wish granters, fundraisers, special events assistants and in numerous other capacities.

As the Foundation continues to mature, its mission will remain steadfast. Wish children of the past, present and future will have an opportunity to share the power of a wish.

Non Profit Synopsis

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We grant the wishes of children with life threatening medical conditions to enrich the human experience with hope, strength and joy

Mission Statement

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Making wishes come true Experiencing and Fulfilling Wishes

The Wishes of Children Made Reality The Dreams of Children are filled

Wishes are the Mission Our Mission is Wishes

Fulfillment of Wishes Hope Through Wishes

Dreams are Reality Caring for Wishes of Children

Wishes coming True

Turning Wishes into Experiences

Taglines

7LogoSamples

8Logo Samples

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WishesDreamsFamilyLoveCaringTimeQuality TriumphOvercomingFaithHopeMiraclesClimbing MountainsFullfillmentMagicWishing Well Comfort

SicknessKidsAdultsGodDeathGoalsFriendsTogeatherWorking TogeatherFantisyFairy TalesNeeds MetHappinessJoy Fairy God MotherFairy’sWands

What do you wish on?StarsCandlesShooting StarsReleased BalloonsWellsFountainsCoinsBubblesDandelions (seed)Prayers

Brainstorming

10Logo Thumbnails

11Logo Roughs

A WishMake

A WishMake

A WishMake

A WishMake

AMake

WishA WishMake

A

WishMake

A

WishMake

Make a Wish

12Logo Refined Roughs

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MakeAWishFoundation MakeA

WishFoundationMakeAWishFoundation

13Final Color Logo

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Logo Specifications and Usage Guide

15Full Color Logo Specifications

Only Use Pantone Process Coated Color

Pantone DS 188-C

Pantone DS 1-2 C1

This logo is completely sizeable for all uses

Color logos are useful for many applications including sinage, brochures, promotional materials and on manufactured product.

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Base ColorDS 188-1C Pantone Process Coated

Yellow StarDS 1-2 C1 Pantone Process Coat-ed

Base ColorPantone Process Coated Black

White StarPantone Process Coated White

Logo Color Specifications

Black and White Application

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Logo may be used with any colors needed for application.

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The color for the logo may be changed to any Pantone Process color available. No outline may be added. The star should always be used with a compatable contrasting color. Logo may be used in black and white, with the star any additional pantone color required.

Variations of Color Applications

Base ColorPantone Process Coated DS 91-1C

Green StarPantone Process Coated DS 283-1C

Base ColorPantone Process CoatedDS 225-2C

Orange StarPantone Process CoatedDS 18-2C

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18Logo Do’s and Don’t’s

Don’t use the logo without the star. Logo must have the star in a Pantone Process Uncoated Color in all color applications.

Don’t skew or rotate the logo. It must remain at 100% straight

Do feel free to use the White outlined version of the logo on a black background where necessary.

Do use a black and white version of your choice when color is not appropriate.

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19Other Black and White Variations

Variations of the black and white logo are available and very useful for many different applications.

White center with “paper” value should be used when application to colored paper.

The outlined logo can be used on all white or color applications. This is recommended where a more sleek sophisticated look is needed.

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The Type face chosen for the logo is Adobe Caslon Pro used in a regular and semi-bold strength. The strength of the semi bold puts an emphasis on the Foundation of the logo and the foundation of the corporation.

Adobe Caslon Pro is an open type pro font, offering extended character and language support. Although a different appearance to the corporate make a wish typeface of Adobe Caslon Pro is clean, contemporary and flexible.

Identity Typefaces

Adobe Caslon Pro BoldAdobe Caslon Pro

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Corporate and Personal

Stationary Packages

22Corporate Package

MakeAWishFoundation

333 Hope Valley RoadNewport Beach, California 92627(714) 555-1212

MakeAWishFoundation


MakeAWishFoundation


MakeAWishFoundation

Newporp t Beach, Cal, ifornia 92627(714)(714) 555-12555 121212


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wpo t c , C o 9 6 7(714)(714) 555 12555-121212


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James O’DoolanPresident

23Corporate Letterhead

Used in conjunction with your Logo Design, Corporate Identity helps to complete the image of your company. It continues the idea that was created in the logo, and carries it through to your marketing materials.

Beyond the necessary business cards, letterhead and envelopes, the team uses your corporate vision to create a range of attention getting products.

And once created, the team has the experience and knowledge necessary to create trouble-free reproduction files, whether that includes custom die cuts, special inks and finishes, or just the right paper stock to enhance your image.

Shown here is the corporate Make A Wish Foundation letterhead sheet design.

Should be used for all outside company business communications prepared for company mailing.

Paper size:8 1/2 x 11

Paper recommendationPaper type : White, uncoated

Paper name : Sweden BondPaper weight: 0gsm

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24Corporate Business Card

Shown opposite is the standard Make A Wish corporate business card.

Paper size Business card:

2 x 3 1/2 Inches

Paper recommendation

Paper type : White, uncoated

Paper name : Sweden BondPaper Weight: 22 gsm


MakeAWishFoundation


MakeAWishFoundation

NewporNewport Beact Beach, Calh, Californiifornia 9262a 926277(714)(714) 555 12555-121212


MakeAWishFoundationp

(714)(714) 555 12555-121212


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25Corporate Envelope

Shown opposite is the Make A Wish corporate envelope.

Should be used for all person to person business communications prepared for company mailing

Envelope size: 3 1/2 x 6 7/8



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26Personal Stationary Package

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eeeAAAAAAAAAAAAAsshhhhhhnnnnndddddddaaaaasshhhhhh tttiio

JJaJamemess O’O’O DDoDo loolanan

eee

anaannlololaoooo

AAAhhhhh

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a 92627

kkkkkkeeeeeeeeAAAAAAAAAiiissshhhhhhhhhhuuunnnnnnnndddddddaaaiiissshhhhhhhh ti

JJ O’O’DD llll

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cchhh, CCCCaaalliiffornni222

eeeyyyyyyyy RRRRoRoooaaaadd R docchhh,, CCCaaalliiffoornni

aaaaaatttttiiiioooonn

JJaJamemess O’O’O DDoDo lolo ananananololaa

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27Personal Letterhead

Shown opposite is the personal Make-A-Wish letterhead sheet design.

Should be used for all person to person business communications prepared for company mailing.

Paper size:8 1/2 x 11 in


Paper name : Sweden Bond Paper weight: 0gsm

MakeAWishFoundation


28Personal Business Card

Shown opposite is the standard Make-A-Wish personal business card.

Paper sizeBusiness card: 2 x 3 1/2 Inches

Paper recommendation

Paper type : White, uncoated

Paper name : Sweden BondPaper Weight: 22 gsm

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eee

ananolaoo

Ah

MakeAWishFoundation



kkkkkkeeeeeeAAAAAAAAiiissshhhhhhhhhuuunnnnnnnndddddddaaaiiissshhhhhhh tti

JJ O’O’DD lll

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aaaaaatttttiiiiooooonn

JJaJamemess O’O’O DDoDo lolo ananananololaa

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29Personal Envelope

Shown opposite is the Make A Wish personal envelope.

Should be used for all person to person business communications prepared for more personal and sensitive mailing.

Envelope size: 3 1/2 x 3 7/8



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30Stationary Usage

Correct use of stationery provides consistency and integrity, supporting our brand mission, its purpose and values. The way we conduct our everyday business provides an important opportunity to reflect all that we are.

For users of all Microsoft Office applications, electronic templates are available to download from www.MAWStationary.com and should be used with all pre-printed stationery items.

A complete set of Microsoft Powerpoint templates are also available for download from maw.com and should be used at all times.

For ease of use and consistency, electronic templates provide pre-determined typographic sizes, leading and positioning. No other versions should be used.

Use of Stationary

31Recommended Paper Stocks

Capitol Bond Paper - 24 lb. Writing Paper Bright White 25% Cotton Light Cockle Finish 8.5 x 11

Long held as the benchmark in affordable, dependable 25% cotton communication papers, Capitol Bond truly is the standard for business and personal correspondence. Acid Free, Elemental Chlorine Free

Howard Linen Paper - Bright White Linen 24 lb. Writing Paper 8 1/2 x 11 ReamHoward Linen is the emblem of performance and economical style. With just a hint of texture, its attractive linen finish can be used for a wide range of applications. Acid Free, Elemental Chlorine Free, Produced with 30% Post-Consumer Fibers

Recommended Paper Stocks

32Critic Guide

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Advertisement Concept and Design

34Ad Samples

35Ad Brainstorming

WishingMiraclessympathyemotionlongingdreamingreachinghappydeservingfeelingpeoplechildrenfamilyhopes

wantingcaringhospitalsnursesdoctorspaitentswaitingparentsloved onesgrandparentsfreindshappinesssicknessterminallast chancetime

patiencevirtuechildlikeinnocentyoungoldall agesdevistationdesperationlimitedfulfillmentwonderamazement

36Ad Thumbnails

37Ad RoughsConcept 1

Sick Children make wishes everyday

Help us make them come true

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Sick Children make wishes everydayHelp us make them come true

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Sick Children make wishes everydayHelp us make them come true

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Sick Chidren make wishes everyday

Help us make them come trueDonate Today

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Sick Chidren make wishes everyday

Help us make them come trueDonate Today

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Wishes are the miss ion

Do wishes real ly come true?

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Ad RoughsConcept 2

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Help us make them come trueMakeAWishFoundation



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Ad RoughsConcept 3

40Ad Finals

Ad Finals Concept 1



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Sick children make wishes everydayHelp us make them come true

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Sick children make wishes everydayHelp us make them come true

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Ad Finals Concept 2

Sick chidren make wishes everyday

Help us make them come truedonate today

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Wishes are the miss ion

Do wishes real ly come true?

MakeAWishFoundation

Sick chidren make wishes everyday

Help us make them come truedonate today

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Ad Finals Concept 3

Sick children make wishes everyday


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Advertisement Applications

44Advertisement Application 1



47Critic Guide

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Promotional Items

49T-Shirt Thumbnails

50T-Shirt Finals - Concept 1

Concept 1

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Help me makea Wish Come

True

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True

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True

T-Shirt Finals - Concept 2

Concept 2

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MakeAWishFoundationWishes

areReality


areReality


areReality

Concept 3

T-Shirt Finals - Concept 3

53Promotional Items

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Make A

Wish

Foun

datio

n

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Promotional Handbags

Promotional Aprons

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Logos and Other variations of promotional products can be labeled with the standard logo or different derivatives.

Colors may be adjusted as needed to make colorful or unusual promotional items.

54Critic Guide

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Designer Biographies

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Chip Kidd is a graphic designer and writer living in New York City and Stonington, Connecticut.

His first novel, The Cheese Monkeys, was a national bestseller and a New York Times Notable Book of the Year. His first book, Batman Collected, was awarded the Design Distinction award from ID magazine. He is the co-author and designer of the two-time Eisner award-winning Batman Animated. He is the editor-at-large for Pantheon, where he has overseen the publication of Chris Ware’s Jimmy Corrigan: The Smartest Kid on Earth, Dan Clowes’s David Boring, and the definitive book of the art of Charles Schulz, Peanuts (designed, edited, and with commentary by Mr. Kidd). He has also written about graphic design and popular culture for McSweeney’s, Vogue, The New York Times, The New York Observer, Entertainment Weekly, Details, 2WICE, The New York Post, ID, and Print.

His designs have been described as “Monstrously ugly” (John Updike), “apparently obvious” (William Boyd), “Faithful flat-earth rendering” (Don DeLillo), “surprisingly elegant” (A. S. Mehta), “a distinguished parochial comic balding Episcopal priest” (Allan Gurganus), “Two colors plus a sash” (Martin Amis) and “not a piece of hype. My book was lucky.” (Robert Hughes).

Mr. Kidd is also the lead vocalist, percussionist, lyricist, and co-songwriter in artbreak, a new band described as “The New Pornographers meet The Cars” (Unbeige).

He does not, apparently, sleep.

Chip Kidd

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David Carson’s retrospective of his past five years, Trek features photography, film, and Web based projects that shift between personal and commercial. Uniting the content is Carson’s distinctively fragmented and layered compositional approach: One example, a photograph of a sun-bleached shack and a notice board that reads “Carson Design inc,” is adorned with graphic sunbursts, leaving the reader to wonder how much of the image is real and how much constructed. The jurors commended the fluid, free-associative feel. “David Carson continues to be one of the world’s most distinctive typographic voices much imitated, but never matched,” Lupton said. She added that the book, which is published by Gingko Press, “effectively presents Carson’ own work in his own style. That could be too much of a good thing, but in this case, it’s just right.”

David Carson

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Paul Rand (born Peretz Rosenbaum, August 15, 1914 – November 26, 1996) was an American graphic designer, best known for his corporate logo designs. Rand was educated at the Pratt Institute (1929–1932), and the Art Students League (1933–1934). He was one of the originators of the Swiss Style of graphic design. From 1956 to 1969, and beginning again in 1974, Rand taught design at Yale University in New Haven, Connecticut. Rand was inducted into the New York Art Directors Club Hall of Fame in 1972. He designed many posters and corporate identities, including the logos for IBM, UPS and ABC. Rand died of cancer in 1996. He is buried in Beth El Cemetery in Norwalk, Connecticut.

Paul Rand

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1920 Saul Bass is born in the Bronx district of New York

1936 Wins a scholarship to study at the Art Students’ League in Manhattan

1946 Moves to Los Angeles to work as an art director at the advertising agency, Buchanan and Company

1952 Opens his own studio, named Saul Bass & Associates in 1955

1954 Designs his first title sequence for Otto Preminger’s Carmen Jones

1957 Devises titles for Michael Anderson’s Around The World in 80 Days and Preminger’s Bonjour Tristesse

1966 Directs the racing sequences and devises the titles for John Frankenheimer’s Grand Prix

1973 Designs the corporate identity of United Airlines

1980 Designs the poster for Stanley Kubrick’s The Shining and devises the corporate identity of the Minolta camera company

1984 Creates a poster for the Los Angeles Olympic Games

1987 James L. Brooks persuades Bass to return to title design by creating the opening sequence of Broadcast News

1990 Begins a long collaboration with Martin Scorsese by creating the titles for GoodFellas

1991 Devises the titles for Scorsese’s Cape Fear and a poster for the 63rd Academy Awards. Bass designs the Academy Awards poster for the next five years.

1993 Creates the title sequence for Scorsese’s The Age of Innocence and a poster for Steven Spielberg’s Schindler’s List

1996 Saul Bass dies in Los Angeles of non-Hodgkins lymphoma

Saul Bass

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Neville Brody, the British designer and art director, has now been at the forefront of graphic design for over two decades.

Initially working in record cover design, Brody made his name largely through his revolutionary work as Art Director for the Face magazine. Other international

magazine directions have included City Limits, Lei, Per Lui, Actuel and Arena, together with London’s The Observer newspaper and magazine.

Brody has consistently pushed the boundaries of visual communication in all media through his experimental and challenging work, and continues to extend the visual languages we use through his exploratory creative expression.In 1988 Brody published the first of his two monographs , which became the world’s best selling graphic design book. Combined sales now exceed 120,000. An accompanying exhibition of his work at the Victoria and Albert Museum attracted over 40,000 visitors before touring Europe and Japan.

In 1994, together with business partner Fwa Richards, Brody launched Research Studios, London. Since then studios have been opened in Paris, Berlin with plans to open a New york studio. Clients range across all media, from web to print, and from environmental and retail design to moving graphics and film titles.

A sister company, Research Publishing, produces and publishes experimental multi-media works by young artists. The primary focus is on FUSE, the renowned conference and quarterly forum for experimental typography and communications. The publication i s approaching its 20th issue over a publishing period of over ten years. Three FUSE conferences have so far been held, in London, San Fransisco and Berlin. The conferences bring together speakers from design, architecture, sound, film and interactive design and web.

Neville Brody

61Neville Brody

Peter Max is a multi-dimensional creative artist. He has worked with oils, acrylics, water colors, finger paints, dyes, pastels, charcoal, pen, multi-colored pencils, etchings, engravings,

animation cells, lithographs, serigraphs, silk screens, ceramics, sculpture, collage, video and computer graphics. He loves all media, including mass media as a “canvas” for his creative expression.

As in his prolific creative output, Max is as passionate in his creative input. He loves to hear amazing facts about the universe and is as fascinated with numbers and mathematics as he is with visual phenomena.

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Armando Testa, the father of Italian advertising. When asked to describe the work of the Turin-born advertising guru Armando Testa in three words “less is more” immediately come to mind.

Minimalism effected much of 20th century art and Testa was a minimalist by nature. He based his advertising art - and indeed art it is - on the principles of impact and simplicity. Testa was influenced by abstract art and is perhaps the first modern Italian adman. In his ads the decontextualised product reigns supreme. Consider, for example, Pirelli’s baby elephant which had a tyre instead of a trunk.

Television first made its way into Italian homes in the 1960s. Testa turned his attention to the new medium and embraced it in full, building new uncharted worlds around his geometric creations. Among his most famous characters are the Caballero Misterioso, Carmencita, Paulista and all the inhabitants of planet Papalla who enthralled the public night after night in the television phenomenon “Carosello”. (Carosello was an innovative mix of comic sketches and advertising in which cartoon characters were associated with different products.)

Armando Testa died in 1992, leaving behind his works (now showcased up until May 13th in a major exhibition in Turin’s Castello di Rivoli) and an advertising agency which still handles campaigns for clients the like of supermarket chain Esselunga and the electoral candidate Francesco Rutelli with his smiling promises of a better Italy.

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Adolphe Mouron Cassandre (January 24, 1901 – June 17, 1968) was an influential Ukrainian-French painter, commercial poster artist, and typeface designer.

Born Adolphe Jean-Marie Mouron in Kharkov, Ukraine, to French parents, as a young man, Cassandre moved to Paris, where he studied at the École des Beaux-Arts and at the Académie Julian. The popularity of posters as advertising afforded him an opportunity to work for a Parisian printing house. Inspired by cubism as well as surrealism, he earned a reputation with works such as Bûcheron (Woodcutter), a poster created for a cabinetmaker that won first prize at the 1925 Exposition Internationale des Arts Décoratifs.

Cassandre became successful enough that with the help of partners he was able to set up his own advertising agency called

Alliance Graphique. Serving a wide variety of clientele, during the 1930s, his creations for the Dubonnet wine company were among the first posters designed in a manner that allowed them to be seen by occupants in fast-moving vehicles. His posters are memorable for their innovative graphic solutions and their frequent denotations to such painters as Max Ernst and Pablo Picasso. In addition, he taught graphic design at the École des Arts Décoratifs and then at the École d’Art Graphique.

With typography an important part of poster design, the company created several new typeface styles. Cassandre developed Bifur in 1929, the sans serif Acier Noir in 1935, and in 1937 an all-purpose font called Peignot. In 1936, his works were exhibited at the Museum of Modern Art in New York City which led to commissions from Harper’s Bazaar to do cover designs.

In his later years, Adolphe Mouron Cassandre suffered from bouts of depression prior to his suicide in Paris in 1968.

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Herbert F. (Herb) Lubalin (b. 1918, d. 1981) was a prominent American graphic designer. He collaborated with Ralph Ginzburg on three of Ginzburg’s magazines: Eros, Fact, and Avant Garde, mother & child and was responsible for the creative visual beauty of these publications. He designed a typeface, ITC Avant Garde, for the last of these; this distinctive font could be described as a post-modern interpretation of art deco, and its influence can be seen in logos created in the 1990s and 2000s.

Herbert F. (Herb) Lubalin

65James McMullen

James McMullan (born 1934) is an illustrator and designer of theatrical posters. He is also the author of the book High Focus Drawing and creator of the “High Focus” method of figure drawing.

66Milton Glaser

Milton Glaser (born June 26, 1929) is a graphic designer, best known for the I Love New York logo,[1] his “Bob Dylan” poster, and the “DC bullet” logo used by DC Comics from 1977 to 2005. He also founded New York Magazine with Clay Felker in 1968.

Glaser was educated at New York City’s High School of Music and Art (now Fiorello H. LaGuardia High School of Music & Art and Performing Arts), graduated from the Cooper Union in 1951 and later, via a Fulbright Scholarship, the Academy of Fine Arts in Bologna under Giorgio Morandi.

In 1954 Glaser was a founder, and president, of Push Pin Studios formed with several of his Cooper Union classmates. Glaser’s work is characterized by directness, simplicity and originality. He uses any medium or style to solve the problem at hand. His style ranges wildly from primitive to avant garde in his countless book jackets, album covers,

advertisements and direct mail pieces and magazine illustrations. He started his own studio, Milton Glaser, Inc, in 1974. This led to his involvement with an increasingly wide diversity of projects, ranging from the design of New York Magazine, of which he was a co-founder, to a 600 foot mural for the Federal Office Building in Indianapolis.

Throughout his career he has had a major impact on contemporary illustration and design and played an influencing role for Howard Milton. His work has won numerous awards from Art Directors Clubs, the American Institute of Graphic Arts, the Society of Illustrators and the Type Directors Club. In 1979 he was made Honorary Fellow of the Royal Society of Arts and his work is included in the Museum of Modern Art, the Victoria and Albert Museum, the Israel Museum and the Musee de l’affiche in Paris. Glaser has taught at both the School of Visual Arts and at Cooper Union in New York City. He is a member of Alliance Graphique International (AGI).

67Jan Tschichold

German type and book designer Jan Tschichold (1902 1974) revolutionized modern typography through his bold, asymmetrical designs and use of sanserif typography, both inspired by the work of the Bauhaus. He proclaimed his new design philosophy through a series of articles and books, including Die neue Typographie, published in Berlin in 1928. His international renown came largely as a result of his redesign of Penguin’s entire series of paperback novels just after World War II. Any graphic designer practicing today owes a debt to Tschichold’s innovation. Jan Tschichold: A Life in Typography offers a concise biography of Tschichold, accompanied by numerous examples of his vast body of work. It serves as an introduction to Tschichold for those who are unfamiliar with his influential style, yet for the experienced designer it is an excellent collection of the wide range of his designs. Ruari McLean’s books on graphic design include Modern Book Design (1958) and Typographers on Type (1995). He is also the translator of Tschichold’s The New Typography and the author of various books on Tschichold’s work

Documents

Make a Wish Foundation Final