3. 1 Company Logo
The logo is the most centric element of the
entire Quotiply brand. It consists of a two-
toned emblem, forming a stylized negative
space “Q”. The emblem is then used together
with the textmark to form the word “Quotiply”.
The logo is designed to be flexible to the
highest possible amount without diluting the
brand as a whole. While the entire textmark
logo is preferred, in certain cases where the
surrounding content leaves no ambiguity, the
brand can be communicated even with the
inverted Q emblem alone.
The logo is set in dark blue, and every
representation of it on light backgrounds
should adhere to the original layout, explained
further in the following pages, and section 2.
When displayed on dark backgrounds (most
preferably on a background of the dark blue
used in the logo itself), the logo should be set
in pure white. For the exact colors, refer to
section 2, “Colors”.
For any non-official use of the logo, a
prior written permission needs to be obtained
before featuring the logo in any printwork.
4. TM
The central element of the Quotiply brand is
its logo, pictured above. The logo consists of
the Inverted Q emblem, and the logotype.
No modifications or adaptations can
be made to the logo, so as to not dilute
the brand. The proportions of the logo are
explained on the opposite page. The colors of
the brand are explained in section 2.
The minimum width of the logo is defined
by its width. Any representation of the logo
may not be smaller than 25mm in print, or 50
pixels on the web.
5. TM
20
12,5 12,5
2045
The logo must adhere to the strict proportions
set here. The logotype is modified so that
the ascenders and descenders of the text line
up with the emblem. Proportions of the logo
elements are labelled on the left.
The logo has to always have a margin, inside
of which no other elements may be placed.
This margin (the orange area) is equal to the
width of the letter “u” in the logotype. The TM
symbol is not accounted within the margin.
6. The Inverted Q emblem may also be used on
its own, but only in circumstances where the
audience would be certain to recognize the
symbol. Such circumstances include content
within the Quotiply websites, or marketing
material only after extreme brand recognition
has been achieved.
7. 20
12,5 12,5
2045
Similar proportions should be used when the
emblem is presented on its own. The tentative
margin (illustrated by the orange area) is equal
to the width of the inner element. However,
other elements need to be placed in such a
way that the audience will not confuse the
emblem to be a part of some other logotype,
advertisement or image.
8. Nots
TMTM
Do not present the logo in any unsanctioned
colors, or add any gradients, gleams, effects,
textures or other modifications.
Do not change, modify or subsitute the
typeface used for the logotype, or add any
other text in connection with the emblem.
TM
uotiply
Do not change, modify or adapt the
proportions, spacing, position or alignment of
any of the logo elements.
TM
uotiply
9. Nots
Do not add text which gives the impression
that Quotiply, Inc. sponsors, advocates or
endorses of the content surrounding it.
TM
Powered by:
TM
Do not add any new elements or texts within
the margin, so to make it seem they would be
part of the logo.
Do not use a representation of the logo which
is of inappropriate size, type or quality for its
application; i.e. web resolution in print.
10.
11. 2 Colors
The Quotiply graphics are built primarily from
two shades of blue, which are both present in
the logo as well as all marketing material, but
less so in the products.
To give the company a more steady,
serious tone, a dark blue was chosen to be
the primary color. To complement it, a lighter
shade of blue was chosen as a secondary
color. These two form a monochromatism
which gives the feeling of security, stability
and professionalism. The colors symbolize
trust, confidence and technology.
For the clear, modern and elegant result,
only one main color should be used (dark
blue), with the secondary hue (light blue) only
used occasionally as a supporting color.
In addition to these colors (as they are
defined on the next pages), different shades
of gray will also be used. Text in neither
the marketing material nor the products
should ever be set in full black. To hold up
the elegant image, body copy should be set
in dark gray. Only printed office documents
should be set in black.
12. DARK BLUE
RGB: 44r 61g 111b
HEX: #2C3D6F
CMYK: 95c 85m 30y 15k
Pantone 534 C
HSB: 225
°h 60%s 44%b
CIELAB: L*=26 a*=6 b*=-31
15. 3 Typography
To complement unified representations of the
logo and brand colors, the typography used
must also match those set in this document.
For headlines, slogans and other larger
texts, Adrian Frutiger’s “Univers” is used in
the “45 Light” weight. The realist and clean
typeface with a thinner stroke width offers a
clean and understated look.
For body copy and other larger passages
set in small type, Lucida Sans is used.
Designed by Charles Bigelow and Kris Holmes,
it offers high legibility while being less
ubiquitous than many other common choices
for body copy.
In user interfaces inside the products,
Lucida Grande is used, to support a vaster
array of characters and to avoid a true italic
which hurts legibility on computer screens in
small point sizes.
Whenever Lucida Sans or Lucida Grande are
not available to users of the products, Arial
may be used to substitute them. The headline
type, Univers, may not be substituted if such
is easily avoidable.
16. Aa Bb Cc
Univers 45 Light
ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ
abcdefghijklmnopqrstuvwxyzåäö 1234567890
Univers 45 Light
ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ
abcdefghijklmnopqrstuvwxyzåäö 1234567890
Univers 55 Regular
ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ
abcdefghijklmnopqrstuvwxyzåäö 1234567890
Univers 65 Bold
Univers is a realist sans-serif typeface by
Adrian Frutiger. The type is a textbook
example of the clean and readable “Swiss
Style” of typeface design.
17. Aa Bb Cc
Lucida Sans
ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ
abcdefghijklmnopqrstuvwxyzåäö 1234567890
Lucida Sans
ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ
abcdefghijklmnopqrstuvwxyzåäö 1234567890
Lucida Sans Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZÅÄÖ
abcdefghijklmnopqrstuvwxyzåäö 1234567890
Lucida Sans Demibold
Lucida Sans is a humanist sans-serif typeface
designed by Charles Bigelow and Kris Holmes.
Lucida Sans fits especially well for longer
copies in small point sizes.
