Introduction
Index
Brand History
Design principles
Logos
Tagline
Typography
Principles
Color
Photography
Video
Application
LAB71
Downloads Index
Brand Guidelines
Updated January 2023
Limited purpose use only - Cannondale.
Copyright © 2022 Cannondale. All rights reserved.
Intended for desktop devices.
Welcome to the Cannondale Brand Guidelines.
As a premium bike brand, Cannondale puts creativity at the heart of everything it does. Our products are based on innovative design, refined engineering, and some out-there thinking; our visual design and graphic identity are based on those same things. These guidelines have been developed to communicate our visual language and show you how we express ourselves through visual design.
Marketeers, use the guidelines to further understand the function of visual design in your communications. Learn the terminology on these pages. Communicate with designers using those terms as much as possible.
Designers, use these guidelines as a foundation. Practice best judgment and creatively build in ways that are firmly rooted in what is written and illustrated in these guides.
Index
Introduction
Introduction
Index
Index
Brand History
Brand History
Design Principles
Design Principles
Logos
Wordmark
Wordmark: Sizes
Wordmark: Misuses
Wordmark: Color
Wordmark: Positioning
Wordmark: Proportions
Wordmark: Orientation
Wordmark: Alignment
Wordmark: ‘Bikes’ Lockup
Wordmark: Secondary Title Lockup
Wordmark: Pairing Partnership Logos
Alternative Wordmarks
Heritage Logo
C-logo: Sizes
C-logo: Misuses
C-logo: Color
C-logo: Lockups
How the Wordmark and C-logo ‘Orbit’
C-logo: Alignment
C-logo: Profile Icon
C-logo: Animation
Sub-Brand Logos
Tagline
Introduction
Configurations
Uses
Typography
Our Typefaces: Favorit, Space Mono
Favorit Tracking
Favorit Leading
Creating Shape With Type
Text Styles and Hierarchies
Scaling
Titles
Headings
Subheadings
Body Copy
Aligning Body Copy
Rags, Orphans and Widows
Caption Paragraph
Space Mono Application
Product Name Lockup
Visual Examples
Cannondale is...
Key Attributes
Title Case vs Sentence Case
Principles
Color
Foundation Palette
Photography is Color
Graphic Colors
Promotional Product Colors
Seasonal Apparel Colors
UI Colors
Heritage Colors
Photography
Our Point of View
Reportage
Portraiture
Studio
Perspective
Real People Casting
Video
Introduction
Video Categories
Post-Production Standards
Duration
Aspect Ratios
Color Grading
Lower Thirds
Wordmark End Card
C-Logo End Card
Tagline End Card
Standard Titles Using Favorit
Standard Titles Using Space Mono
Standard Credits
Creative Use of Standard Titles
Captioning
Sound Levels
Mastering, Specifications and Export
Application
Core Elements
Application Examples
LAB71
LAB71: Introduction
LAB71: Design Principles
LAB71: Logotype
LAB71: Typography
LAB71: Color
LAB71: Photography
LAB71: Applications
Downloads Index
Downloads Index
It was 1971: a year when the world was beginning to change rapidly with an exciting new spirit of digital invention, creativity and imagination along with a worldwide drive for new purpose. A new dawn. And yet, cycling was still very traditional, very conventional, conforming to some sort of rule book: our founders believed that there had to be a better way...
...so we ditched the rule book, cut a new path and created a new way. From a Connecticut workshop we set about revolutionizing cycling for the better, for everyone. We assumed nothing, we iterated and reiterated and from day one we have worked on pioneering materials, ergonomics and technology. And we haven’t looked back since.
OUR VISUAL IDENTITY
Contemporary, with a backstory.
Refined, no cut corners.
A unique voice. Confident.
Through visual design, we bring the different categories of cycling to Cannondale in a way that is undiluted from one bike category to the next. We use methods in logo design, graphics, language, layout, typography, photography, video and color to bring the worlds of cycling together.
Tradition meets left-of-center
We are proud of the design heritage Cannondale has. It is about being a lucid brand, with dedication to innovation which isn’t afraid to draw on unconventional influences. Likewise, in visual design, we want the brand to be clearly recognized, but uniquely experienced.
Uncompromising
We do not cut corners at Cannondale. We are a complete creative brand, from bikes through to marketing campaigns, we will not settle for the expected. Visual design feels refined, smart and enticing.
Head above the crowd
We believe Cannondale has a unique voice in the industry. Our visual design is the mouthpiece to this. Cannondale should look and feel exactly that: Cannondale.
Push the form
We use visual design not just to get it our there, but to create stories and messaging in unexpected ways. Creative design for the brand always thinks and executes beyond. Bespoke designs, creative copy, type, logo experimentation, unique photography, clothing; the medium is there to be pushed.
Every blank surface is an opportunity for design; knowing when to leave those surfaces blank is part of crafting good design, too.
CORPORATE WORDMARK
ALTERNATIVE WORDMARKS
C-LOGO
SUB-BRAND LOGOS
Introducing the Corporate Wordmark
The Corporate Wordmark (known simply as the Wordmark) speaks to a contemporary and clear design philosophy whilst also drawing on the company’s history. It is a hand-drawn version of a traditional, mono space typeface. It is the first consideration in any Cannondale visual design, without exception.
The Corporate Wordmark is the
bastion of our brand. We prioritize
the wordmark in all design.
Wordmark: Sizes
We want our Wordmark to always look its best, regardless of where it is used. We have created three versions of the Wordmark which may appear identical, but each has optimized features that allow them to excel in their specific size usage range.
There are optical design differences between the three versions; the size of the ® symbol and the letter spacing.
Standard. The Standard Corporate Wordmark scale is what we use for nearly all applications. It has been optimized to function at sizes from 60mm/250px or larger.
That’s anything from a print advertisem*nt to a large shop window display, or the side of a factory wall.
Small. The ‘small’ wordmark file has been adjusted with a proportionally larger ® symbol, allowing for clarity at its reduced scale. This file should only be used for small applications of 25mm-60mm.
That could be as part of an email signature or a small digital banner.
Extra Small. The ‘extra small’ Wordmark file has adjustments to both the letter spacing and ® symbol. This file is only used in rare cases below 25mm.
This includes clothing labels, small bike tags, and small-print.
Wordmark: Misuses
The wordmark is designed as solid stroke letterforms, to be shown freestanding horizontally as solid black or solid white. The wordmark must not be altered or distorted in any way. The effectiveness of the wordmark depends on consistent and correct usage as outlined in these guidelines.
1. Do not use any drop shadow effects.
2. Do not distort the Wordmark in any way, this includes stretched, warped or skewed transformations.
3. Do not rotate the Wordmark. It is designed to rest on its horizontal baseline.
4. Do not re-draw the Wordmark in full or in part, nor must it be altered or recreated using other typefaces.
5. Do not place the Wordmark within another outline shape, such as a box.
6. Do not use any superimposed pattern or photographic fills within the Wordmark.
Wordmark: Color
In most cases the Wordmark appears in Black and White only. This reinforces our monochrome foundation as a brand, which we explore in further detail in Color. White-on-black and black-on-white are safe and always approved for use.
There are cases where color versions of the Wordmark are created, these must be signed-off on a case-by-case basis by Global Creative.
Wordmark: Positioning
As a rule of thumb, we recommend these standard positions as a foundation in design. They refer to the placement of the Wordmark, not to the specific margins on the page which can change from medium to medium.
Our wordmark must always be placed with sufficient open space in a position where it is clearly visible and readable, and in harmony with other elements.
We scale the wordmark in two ways:
Classic and Oversize
Classic proportion
The Classic is a light touch in those situations where brand recognition is poignant but not overstated in the image. It evokes a sense of storytelling.
Oversize proportion
Oversized is bold and graphic, and dominates the image in a way that leaves an unmistakable mark. It is a literal signpost to the brand and can be used as an effective composition in a space or on an image.
Wordmark: Orientation
We always place the Wordmark horizontally to optimize legibility and retain consistency across the brand. However, there are rare site-specific cases where the Wordmark may need to rotate vertically in order to maximize visibility and make the best use of niche locations. These uses must be approved by Global Creative.
In the example below, we had the opportunity to bring the brand into one of the most iconic outdoor advertising sites in the world. Rotating the Wordmark 90 degrees was essential for brand visibility in a busy and visually saturated location.
Wordmark: Alignment
When aligning the logo horizontally, use the width of the letters excluding the ®. This is only critical when the wordmark takes up more than 50% of the width of the artboard.
The wordmark can be difficult to align vertically. Auto-Center looks too low, alignment using the shorter letters makes the wordmark look too high. Use your judgment to optically align the wordmark. The green center line can help as a guide.
‘Bikes’ Wordmark
We have created a version of our Corporate Wordmark which is dedicated to what we make! The Bike Wordmark has been created for situations where the audience is largely non-endemic and may not be familiar with the Cannondale brand name.
Secondary Title Lockup
Secondary title lockups use Space Mono. They are best known for their application in the Cannondale Factory Racing logo and have gone on to be used for other subdivisions of Cannondale as a simple shorthand solution. Pay attention to the rules. Space Mono is a subtle signpost font and may not be suitable for every application. Make it too big, is out of character. Too small, is impossible to read.
Secondary Title lockup
The wordmark is designed as solid stroke letterforms, to be shown freestanding horizontally as solid black or solid white. The wordmark must not be altered or distorted in any way. The effectiveness of the wordmark depends on consistent and correct usage as outlined in these guidelines.
The maximum length a title can become is 90% of the width of the wordmark or 24 characters. The title must remain on one line.
The letter height of the title is fixed at at 25% of the height of the wordmark. The font should be Space Mono Regular in all caps.
Secondary Title lockup:
Small Applications
In situation where the logo is reduced down to 600px or smaller we increase the height of the Space Mono to 35% of the height of the Wordmark. At this size, the character count is reduced to 18 characters. An example of where you might find a lockup at this size is a video, even if the video is intended for YouTube, it may end up being viewed on a small device –in which case increase the size of Space Mono.
PARTNERSHIP LOGOS
Every brand partnership is unique. When pairing the wordmark with a partnership logo these general rules will help as a guide.
Partnership Logos:
Shorter than Cannondale
Place the Corporate Wordmark first, followed by the collab sybmbol ‘x’ and then the partnership logo.
Both the Wordmark and the partnership logo must share the same overall text height.
Partnership Logos:
Longer than Cannondale
Place the Corporate Wordmark first, followed by the collab symbol ‘x’ beneath it, followed by the partner logo.
Both the Wordmark and the partner logo must share the same overall text height.
ALTERNATIVE Wordmarks
Our Wordmark is always prioritized, however, we have secondary versions which diversify how we signal the brand in conjunction with the Wordmark.
Tumble Wordmark
The Tumble Wordmark is a playful, fun and creative version of the Wordmark. It is most commonly found on our water bottles and across our Kids bikes, but is also making an appearance in other areas of the brand which require a pop of humor.
The Tumble Wordmark is not immediately recognizable to all eyes, therefore the Tumble Wordmark is always used in proximity of the Wordmark. A lockup version is available for situations where the Wordmark is not otherwise present.
Split Wordmark
We created the Split Wordmark as a boxier, tighter form version of our Corporate wordmark which is playful and bold. It was originally applied to MTB campaign print advertisem*nts but has, like the Tumble Wordmark, demonstrated a proven use case in other areas of the brand such as trade stands, digital banners and trackside branding.
The Split Wordmark is always used in proximity of the Wordmark. A lockup version is available for situations where the Wordmark is not otherwise present.
Heritage Logo
This is our Heritage Logo. Affectionately known as the ‘train station’ logo and originally found on luggage, camping gear and Cannondale accessories from the 1980s. It originally featured a ‘USA’, referring to our place of manufacture, but has been updated to the founding date of Cannondale - 1971. It is a gesture to our history.
The Heritage Logo is used in very specific areas of the brand and is found through assisted discovery. This logo is not used in abundance, but instead appears in very niche places across brand touchpoint as a visual surprise and brand Easter egg. Always use Heritage Red PMS 186C as the train station color.
C-logo
The Cannondale wordmark is iconic, and distinctive by its length. There are times when we use a shorthand...
Introducing the C-logo
This is the Cannondale C-logo. It began life as a new head badge on our bicycles. The design went down a little too well – a few years later, it is now a core element in our design and brand identity. It is what we use to imply Cannondale, withought saying it.
It is important the placement of the C-logo and its secondary relationship to the wordmark is understood and implemented properly, in all environments, whether thats on a bike, a race kit, billboard, print ad, or interior space. When you see the C-logo anywhere, the Wordmark should never be more than a glance away.
The C-logo comprises 25 ‘spokes’ and follows the shape of a symmetrical circle. Although simple, its use must be exact - but don’t worry, these guidelines will outline variations to the C-logo and how to use them.
C-logo: Sizes
Our logo is designed to scale to small sizes on print and screen. We created two versions: Standard and Small.
Standard works at any usage greater than 10mm, this could be on a team jersey, or the side of a building. The easy way is to use a literal rule-of-thumb; if the location is larger than your thumbnail, generally use the Standard size.
Small has the same number of spokes as the standard, but with a reduced thickness to each. This allows the C-logo to appear like the Standard in very small placements.
Always test the final reproduction of the C-logo to ensure visual clarity.
C-logo: Misuses
The C-logo must not be altered or customized. It is important to retain the integrity of the logo in all uses and work with the C-Logo file as you receive it. The following examples must never be applied to the C-Logo.
1. Do not use drop shadows or background effects.
2. Do not remove or add spokes to the C-logo.
3. Do not rotate the C-logo.
4. Do not thicken the spokes.
5. Do not skew or distort the C-logo.
6. Do not create stroke versions of the C-logo.
C-logo: Color
In most cases the C-logo should appear Black-on-White or White-on-Black.
For special cases such as brand collaborations or special paintwork on bikes, color versions of the C-logo may be created. These must be approved on a case-by-case basis by Global Creative.
C-logo: Lockups
The Wordmark and the C-logo do notappear in a direct lockuptogether; it is very difficult to ensure the Wordmark is prioritized when the two are directly locked together in a traditional way. Instead, we use both in proximity to one another, which we refer to as the ‘orbit’.
How the Wordmark and C-logo ‘Orbit’
In the examples below, the ‘orbit’ of the Wordmark and C-logo are designed to remove restrictions on the size of each element, without de-prioritising or overshadowing the Wordmark.
The Wordmark and C-logo function differently for the brand. Primarily, the Wordmark is read, the C-logo is seen. This is important as it allows the brand to both ‘be heard’ and ‘be seen’.
On its own the C-logo is not enough to say ‘Cannondale’. Therefore, always prioritize the Wordmark over the C-logo. The C-logo is decorative to the brand.
The example above, shows the C-logo working in ‘orbit’ of the Wordmark. The C-logo occupies a prominent and arresting position at eyealevel and is several times larger than the Wordmark, however, the eye is naturally drawn to read the Wordmark as it’s in the elevated position. The two elements connect in an informative way.
C-logo: Alignment
When aligning the C-logo horizontally do not use auto-align. The C-logo has its own unique center point, we use this to center the C-logo onto objects like the head tube of a bike. When aligning the C-logo vertically, auto align is ok to use.
C-logo: Profile Icon
Most social profile photos sit within a circle. When we
use the C-logo as a profile photo we center the C using
it’s natural circle rather than the balancing point.
C-logo: Animation
The C-logo animation can be used in back or white across all of our most commonly used social aspect ratios 16:9, 1:1, 4:5, 2:3, 9:16. When the C-logo is used in full-length organic brand videos the Wordmark must still be prioritised as the key identifier, without exception.
SuB-brand LOGOS
Under the Cannondale umbrella are several sub-brands. These include HollowGram, LAB71, SmartSense and Lefty.
Sub-brands within Cannondale
LAB71 and SmartSense are housed under Cannondale and are attributes to our bicycle platforms.
Sub-brands separate to Cannondale
Hollowgram and Lefty are independent component brands, set apart from Cannondale in marketing and graphic representation.
INTRODUCTION
CONFIGURATIONS
USES
'COME RIDE WITH US'
Our Tagline is an open invitation to join our brand. It is a core element of our graphic identity.
Tagline: Configurations
We most commonly execute ‘come ride with us’ (CRWU) in Favorit Regular. When written in Favorit the tagline appears in lowercase, no punction.
Tagline: Uses
Our tagline is used in videos, Instagram posts, advertising, and printed material. It is used alongside the wordmark, the C-logo, and sometimes both at the same time. It can be used as a subtle punctuation of our brand, or it can be loud and unmissable.
OUR TYPEFACES
CREATING SHAPE WITH TYPE
OUR TYPEFACEs
Cannondale is a digital-first brand. Our typography starts with our website design and is ubiquitous at all other touchpoints.
Favorit
SPACE MONO
Favorit: Main Typeface
Favorit is Cannondale’s main typeface. It is a sans-serif which feels like a standard neo-grotesque, featuring distinctive right-angled character tails on the ‘t’, ‘j’, and ‘y’. Modern and subtly distinct, it brings personality to our brand.
Bold weighted text feels impactful at all sizes. Light weighted text feel more classic, open and approachable in contrast.
Space Mono: Complementary Typeface
Space Mono is our complementary typeface. It is a fixed-width typeface and expresses a technical, almost scientific mindset Cannondale brings to the brand. It compliments the mixed-case of Favorit and is great for indicating key details in copy, as well as adding interest to blocks of text when used in conjunction with Favorit in the design of copy.
Space Mono is always set in Regular weight and UPPER CASE.
AaBbCcDdEeFfGgHhIiJjKk
LlMmNnOoPpQqRrSsTtUu
VvWwXxYyZz
Øø Åå 0123456789
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ØØ ÅÅ 0123456789
SPACE MONO REGULAR
Favorit contains several alternative characters. We have illustrated the correct selection for those characters which are not the default version within the font family. These characters must always be used in place of their default equivalent.
Cannondale has its own custom version of Favorit. it’s called CannondaleFavorit. To determine whether you are using the correct version, check the number 8 is the correct way up.
Favorit Tracking
Favorit does not like tight character spacing. It likes space to breathe comfortably within text and headlines. It becomes lighter in appearance and is more legible when spaced appropriately.
Between 0% +2% tracking is comfortable for Favorit.
Favorit Leading
Leading, otherwise known as line spacing, must never be too loose or too tight. This makes for a less enjoyable reading experience. We set all Favorit leading to 125% with the exeption of bold titles at 100%.
Creating Shape with Type
The shape created by combinations of titles, headlines, body copy or CTAs is fundamental to a strong brand design for Cannondale. We see type layout as formation. Text is a visual component as much as images are.
Text Styles and Hierarchies
This section addresses the hierarchy of text and the size and typefaces used. It lives predominantly on our website and caries down in to other applications of typography like dealer book, product cards and sell sheets. It is essential to follow these rules to ensure copy hierarchy and messaging is clear at all levels and touch-points.
We apply our text styles and hierarchy in this way to separate key information and make the user journey clear and concise.
Scaling
In digital applications we stick to a type scale ratio of 150%. To apply this, manually set the smallest type, usually body copy or Space Mono, then increase all other type by increments of 150% or x1.5.
This scale can also be used in non-digital applications. Use it as a tool to ensure that you have a nice rhythm with your typography that gives contrast to your design and information.
Titles
Titles can adopt Title or Sentence case and should appear in Favorit Bold. Title Case is often used for short and assertive campaign taglines and homepage titles, like “Ride Brilliantly”, in which situation no full-stop is used.
In some situations, like when the title is longer, we use sentence case instead. In those situations a full-stop is used at the end of the title.
Titles should be kept short. Two to three words is the ideal length for most titles.
Headings
When writing Headings we always use sentence case.
Headings are usually in proximity to body copy and beneath a Title. Titles will always be the most prominent copy in a segment of written words.
In some situations, like when the title is longer, we use sentence case instead. In those situations a full-stop is used at the end of the title.
Titles should be kept short. Two to three words is the ideal length for most titles.
Subheadings
When writing Subheadings we always use sentence case.
Unlike a Heading, which can float between a title and body copy, a subheading is always assigned to body copy.
Subheadings should be short and to the point. Avoid long single lines for subheadings. If necessary, stack the heading over two lines so that it does not exceed the width of the paragraph.
Body Copy
Body Copy is versatile, the important thing is ensuring the copy is legible at its respective size.
Body copy must use Favorit in sentence case only and always include full-stops.
Body Copy is mostly used in Light on the website for paragraphs. For some design applications Regular is occasionally used.
Aligning Body Copy
In most cases, Body Copy should be aligned flush left / ragged right in black or white, never use color.
Rags, Orphans and Widows
Always look for opportunities to create improved rags, or ragged edges on the right margin of body copy. Watch out for orphans and widows and adjust line lengths with a writer to solve awkward breaks which can affect reading quality.
Caption Paragraphs
For Caption Paragraphs you want to choose a combination of type size and column width that is not too short or too long.
Create tidy solid shapes with blocks of copy. Avoid long stringy sentences. Lines that are too long cause the reader to lose their place.
Space Mono Application
Space Mono is an accent font to our main font Favorit. We often use it to add an element of additional information to the title. It is useful and decorative, in equal measure. Space Mono should never be used as Heading, title or body copy, it should only be used as a decorative and informative accent to Favorit.
Always set tracking at 200/22%. There may be times you need to adjust kerning for numbers and decimals to avoid them being too far apart.
Product Name Lock-up
Product names are a significant component of our brand. The aim is to create consistency when they appear on bike cards, sell sheets, the website, emails, and at trade shows.
Some of our product names are long, which is why we split the full name of the product in to two font weights. This makes it easier to visually distinguish the model name from the spec level.
Visual Examples
CANNONDALE IS...
KEY ATTRIBUTES
Title Case vs Sentence Case
PRINCIPLES
CANNONDALE IS
The laid back expert.
The approachable nerd.
The excited professional.
The Lovable Rogue.
These are guidelines.
Suggestions.
Recommendations.
But not rules.
Cannondale has always broken the rules,
and ones around language would be no different.
For every tenet outlined here, we acknowledge the possibility
for an exception that would work wonderfully.
But we ask that you start here.
And try to end here.
Let this be your map.
But you still need it to get back home.
But you still need it to get back home.
KEY ATTRIBUTES
Inclusive but Informed
Language that doesn’t alienate anyone, but talks the talk when necessary.
Excited but Grounded
Confident, energized, and inspiring, but not over-the-top.
Clear and Clean
Concise, understandable, free from jargon and digits.
Show Don’t Tell
Convey our expertise without stating that we’re experts.
Inclusive but Informed
Welcoming to all, but experts when necessary.
While the enthusiast can easily interpret messages aimed at the casual or new cyclist, it rarely works the other way around. We want nearly all of our language to speak to all riders, regardless of their experience or aspirations. Let’s not make assumptions about ability, knowledge, or lack thereof. Speak to experiences we can all have and understand. Find the common denominator.
Exceptions can be for products with an exclusive focus on performance, like the SuperSlice time trial bike or a HollowGram R50-SL wheelset. These products are made by serious cyclists, for serious cyclists, and it’s important to speak their language in the appropriate places.
Needs work
Synapse was made for days grinding big climbs, ripping descents, smashing gravel, and going sunup to sundown.
Proprietary tube shaping and carbon construction reduce road chatter.
Everybody loves riding a bike.
Working well
Synapse was made for those long rides you wish could be even longer.
Engineered for a smooth ride, mile after mile.
It’s hard to not love riding a bike.
Clear and Clean
Straightforward, uncluttered, and brief.
Clear and concise language is inviting. Delivering more information with fewer words eliminates redundancy, maintains a consistent level of interest, and most importantly, cuts back on jargon. Where possible, trim.
When in doubt, simply ask, “is this word, phrase, or sentence necessary? Or do they get it already?”
Trust that your reader understands the bigger picture without needing it explained.
Needs work
Urban environments can be chaotic, so to help you maneuver confidently, we designed this bike for pulling tight turns, making quick stops, and keeping you comfortable so you can stay alert.
There were tons of decisions to make and perspectives to consider, but after lots of back-and-forth, we decided to focus entirely on bicycles from 1983 onward.
SE stands for Specially Equipped, a designation we give specific models that we’ve upgraded in various ways for the most extreme riders that want to tackle the most extreme trails.
Working well
An urban bike designed for tight turns, quick stops, and keeping you comfortable while making them.
In 1983, we committed our business entirely to bicycles.
SE stands for Specially Equipped, and these models offer even more control on the toughest terrain.
Exciting but Grounded
Feel like a kid.
Speak like an adult.
There’s a universal joy found in cycling. Tapping into the enthusiasm that lives in every rider — regardless of age — is a huge part of compelling them to “Come Ride With Us.” It’s powerful and contagious at any level.
But this can be done with dignity. Let’s avoid wild exaggerations, vast hyperbole, and boisterous claims. We can have fun, but remember that there’s also power in modesty.
Needs work
A racing machine that kicks, corners, and climbs so well you’ll never want to do anything else but ride.
A helmet that’s insanely light, hyper-ventilated, and outrageously comfortable.
Engineered for the utter domination of any trail on Earth.
The lightest alloy road frame ever.
Working well
A racing machine that kicks, corners, and climbs so well, you’ll you rethink what you’re capable of on a bike.
A helmet that’s incredibly light, well-ventilated, and exceptionally comfortable.
Engineered for comfort and control on the trail.
The lightest alloy road frame we’ve ever made.
Show Don’t Tell
Answering the “Why?”
The smartest person in the room never tells you they are. And if someone told you they were, you’d be skeptical.
We want to convey our expertise, but not by stating that we’re experts. Let the reader figure that out. There are those who want precise numbers, data, and tech specs – and they can see those on the charts. For everyone else, speak to the benefit of those numbers, data, and tech specs. Answer the “What” and the “Why” before the “How.”
This is especially true for any product’s aesthetic qualities. We can highlight more objective design attributes, like “modern” or “colorful,” but we needn’t tell them something is “beautiful” or “sleek” or “gorgeous.” If a bike, shoe, or helmet is attractive, people will see this for themselves.
Needs work
Habit HT was designed with neutral geometry and shorter seat stays.
Synapse Active Vibration Elimination (SAVE) blends proprietary carbon construction with micro-flex zones, reducing vibration transmission by up to 25% over most road surfaces.
A stunning design.
Working well
Habit HT was designed for agility.
Synapse Active Vibration Elimination (SAVE) protects you from bumps and shocks. It’s a micro-suspension system that works throughout the frame, preventing rough roads from ruining your ride.
A vivid design.
Title Case vs Sentence Case
Broadly speaking, title case should be applied to titles and headers that are intended to be short, declarative, or evocative. No period or punctuation will usually be necessary. Sentence case should be applied to titles and headers that are longer or otherwise make complete, sentence-like statements. They should be concluded with a period. There will be exceptions to this rule, however, and judgement by creatives should sometimes be rendered on a case-by-case basis. Some examples are below.
Ideal for Title Case
Chasing Impossible
Magnus the Magnificent
The Lightest of the Fast
Ideal for Sentence Case
It’s the very best of our best.
Go electric, and go anywhere.
Let’s make it happen.
Principles
Write in first person on behalf of Cannondale. Use we, our, and us.
Default to North American English spellings, slang, and terms. Some exceptions for British English depending on context. Much of cycling culture was born in Europe, but we are a North American brand.
Preferred terms:
Instead of: biking we use: cycling or riding
Instead of: bikers we use: cyclists or riders
Instead of: bike we use: ride
Body copy for most product should be free from tech specs, unless they are especially notable and relevant to that audience.
Body copy should always contain at least one complete sentence per paragraph. Run-ons and fragments can create pace and tone and energy, but there needs to be a minimum of one complete statement anchoring the point.
Avoid the use of exclamation points. Copy for kids’ products is an exception. When used, never more than one per statement.
Avoid the language of comparison unless comparing. Lighter, quieter, faster, better, tougher, stiffer, softer, more, less – these are often meaningless without a relevant point of reference.
Hyphens are for hyphenating — they’re not to be used as em or en dashes.
• There are exceptions — there always are – when
writing.
• But this right here-even if you like it-is not
correct and reads poorly.
Both our products and our language are rendered with precision, so:
• An Oxford comma is (almost) always used.
Rare exceptions for certain titles/headings
only.
• Ampersands (“&”) only used in
titles/headings. Exceptions can be made for
certain character-limited contexts.
FOUNDATION PALETTE
PHOTOGRAPHY is color
GRAPHIC colors
PROMOTIONAL PRODUCT COLORS
SEASONAL APPAREL COLORS
HERITAGE COLORS
OVERVIEW
We are a colorful brand with a strong
graphic base that prioritizes a black and
white foundation. We bring color to the
brand through vibrant photography.
The Foundation Palette
White: We use White the most, as a way to bring forward the integrity and transparency of our brand and build trust with our audience. White is used widely for backgrounds and in typography on dark tones.
Black: We use black for its wide spectrum of emotional connotations; it is a universally recognized shade of elegance, dignity, mystery, restraint, and more. Black is used occasionally for backgrounds and largely in typography on light tones.
Grays: Grays are used mostly for digital and in-store applications, bringing depth to backgrounds and to soften material surfaces.
Photography is Color
While our monochromatic foundation is always present as a priority, it is not exclusive. We bring color to the brand through directed and curated photography.
In this example, foundational black or white define our graphic identity, while the images bring color forward in a distinctive way. Dominant tones in the images simplify the design and leave a lasting impression.
Graphic Colors
We use color graphics to add vibrant contrast, or sometimes to lower the contrast of black and white graphics. We do this by spot-picking a color from the photographs or from the product that is present and we add it to the design.
Increase graphic contrast by spot-picking a color that is complimentary to the tone of the overall image. A strong highlight color can be created this way.
Reduce graphic contrast by spot-picking a color from the image that is similar to the overall tone. It will blend more with the image, making the graphic secondary to the image itself.
To apply color graphics to a Foundation Color background, use the same color-picking process. The color is always pulled from a neighboring product or image.
In this example, two separate pieces of design are brought together with color. A strong highlight color has been picked from one design to pair with graphics in another. A second layer of connection has been made between the two designs by a subtle color being picked from the black and white image and used as the wordmark color in the opposite design.
Good Judgement
Adding color graphics to a layout or design will draw attention to the design. At the same time, adding too many color graphics, or a color that clashes with the content, can negatively impact the design and make it harder to receive as intended.
For 2D design use no more than one highlight graphic color. Two highlight colors can be used if one of them is a neutral tone in the design.
In physical spaces like a store or trade show, limit the number of graphic colors to three, of which one must be neutral. Black or white foundation colors must always be present within the space as either a background or graphic.
Promotional Product Colors
When we apply color to promotional products at launch events and races, color comes directly from the hero product or the team identity that is being showcased at the event. In this example, a promotional water bottle replicates the colours of the CFR team kit.
Seasonal Apparel Colors, 2023
Our color palette for apparel is seasonal and is edited from all the colors that appear across the product range. They represent the more frequent colors appearing in the brand for any given year. These colors are updated annually by the Colors+ Graphics team and are referred to as the Seasonal Color Palette.
Heritage Colors
These colors do not dominate our brand. Heritage cols show up occasionally and are presented to our audience through assisted discovery.
Customers new to Cannondale won’t know what these colors represent. But to more established customers and to new customers over time, the heritage palette gives us the opportunity to express pride in our brand and our rich history of innovative product design and sporting success.
Our Heritage Colors Story
Red + Yellow – mid 90’s
Red was synonymous with Cannondale in its formative years of road racing and truly rose to prominence for a period in the mid-90s when red and yellow became the colors of the Saeco-Cannondale road team, as well as the notorious Volvo-Cannondale racing mtb team.
Blue + Yellow – Volvo, 1999–2002
The second half of the Volvo-Cannondale era carried forward the use of yellow in the pro mtb team when it combined with a dominant, primary blue. This combination became iconic and synonymous with an adventurous and fearless period for the brand.
Green – Liquigas, 2007–2014 + Peter Sagan
Most recently, Green (a combination of blue and yellow if you like) defined a period of pro team eccentricity, most notably when Peter Sagan was riding for the Liquigas-Cannondale road team.
Blue & Green – CAAD Track, 1993–1995
Ring-fenced for very specific use cases, but nonetheless beloved by the brand, these are two colors that were iconic in their usage on Cannondale Track cycling frames. You might see these used in heritage-focused areas of the brand.
OUR POINT OF VIEW
REPORTAGE
Portraiture
STUDIO
PERSPECTIVE
REAL PEOPLE CASTING
Cannondale imagery is both an instigation and invitation to “come ride with us”.
Our Point of View
We are ourselves cyclists. More than anything, we want to elevate and celebrate the human spirit through our sport and build our community. If they believe in us, they’ll believe in our products.
Whether it’s a naturally lit honest portraiture, an alpine landscape at dawn or toddler ripping a push bike we strive to capture authentic moments that draw people in and start conversations.
Photography is but one touch point but it is critical to get right. The consideration and craft we put into them must be at the highest level.
Classic sports photography and the tradition of photo
reportage mix with an appetite for non-convention. This
is how Connonadale photography dephoto-reportagefines itself.
Bold. Emotive. Authentic. Brutal. Alternative. Tech. Human. Fun.
Reportage
To be authentic we obviously need to shoot authentic moments. As the title suggests, these are documentary images that capture a moment Vs staging one. Each image needs to tell a story that without Cannondale could not happen.
Portraiture
We are champions of the Cyclist. Be it someone out for their first ride or an enduro rider on the start ramp. Portraiture allows us to isolate the individual and capture what it is that makes them who they are, their quirks, humanity and perspectives. No matter who we’re shooting or where we treat them and their image with the highest of standards.
Candid portraits capture the subject at ease and in their zone. Orchestrated portraits allow us to express something more direct to the audience.
Photography is where our loveable rogues gain an identity.
Don’t Be Shy
Portraiture isn’t limited to standalone subjects. We want to see faces on the bike. This can be a cliche for some brands, but as as a premium brand, we bring the faces of riders to the forefront of our image making in ways that are natural and authentic both on and off the bike.
Show Emotion
Capturing emotion is at the heart of our photographic communcation. Our photography is unapolgetic in showing what cycling really means to riders.
Studio Photography
We photograph the product in the studio and use it to contrast with our reportage photography dramatically.
We make products we are proud of. Each one should be lit, angled and cared for in a way that brings out its most desirable aspects and is free of distractions. You should know each product well before capturing its image to understand what makes a cyclist care.
Capture products in ways that feel true to the materials they are made with and that match the product colour. Avoid lighting gimmicks and filters as much as possible. Add meaning to the surfaces and paint finishes. Give details the attention they deserve.
Perspective
The photographer is the voyeur through which moments are captured. They are capturing emotion and telling stories. Because of this, we don’t try to be tricky with angles.
Think about where another rider or friend would be and shoot from there. It could be from another bike, out the window of a moving car, or cheering on from the side of a trail.
Arial photography can be used, though less common. It’s a different extreme in perspective though an honest one as well. It allows us to tell a story at scale as well as capture the wonderful places our bikes take us.
Lighting
The best way to tell real stories is… through reality. Always use natural light or techniques that simulate it.
Effects
Avoid the artificial. If our images don’t elicit emotion, then they are the wrong images. No effect is going to change that.
Don’t over process to create a “mood”. Reality is stripped away and replaced with falsehood.
Real People Casting
We portray real people doing real things in real sitations. Casting for photography and video shoots will be diverse on all levels: body type, ethnicity, gender.
We portray the heart and soul of cycling. We use real riders, not models. We are an inclusive brand; we include all riders. Life is more interesting that way, and so are our products.
Environment and Location
Consider locations that provide good opportunities for composition, not just a great place for riding. Think about the color of the environment and how you might want the product to stand out against it, or match in.
Sometimes, we use landscape photography for storytelling when we are more interested in the environment than the rider.
Curation of Images and Selecting Content
Bringing the best images together in to one project doesnt always mean they will work together in the best way. Think about more than one image as a collection, each relying on the other to work as a whole.
In design, this is a sigificant considerstion instore and on web pages, where multiple images appear alongside one another in the same visual space.
Too much similarity between images can feel repetitive. Too much difference and the images will clash.
Think about the amount of riding compared to human interest. Think about prioritising product detail in some of the images, while others show us the rider in the environment. Think about how shared colour between images can simplify the collection of photographs or create a visual link.
In this example for Synapse, colour direction provides a visual link between the images. The overall blue/green hue of the shoot is punctuated by the yellow road marking.
A yellow hue is repeated in the image of the rider holding the bike. Red in the same image gives a contrast of colour that compliments the purple product colour and brings attention to the product in a nuanced way.
Close crops of the rider contrast with landscape photography to add depth to the collection of images.
INTRODUCTION
VIDEO CATEGORIES
POST-PRODUCTION STANDARDS
we are film makers
All the principles outlined in photography section carry over to video. Video, like photography, is an instigation and invitation to "come ride with us".
Make Them Unforgettable
More than any other medium, video lets us connect with our audience on an emotional level while telling worthwhile stories. Cannondale videos are clear, powerful, and succinct, use every tool the medium offers.
Use the elements of our brand, everywhere you can. From typography to photography style, to logo usage and tone of voice. Use it all. On top of that layer, incredible motion, rich sound design, unique animation and music.
Make the music matter. Though our subjects and our audiences are diverse this will keep our video connected and feeling like Cannondale.
Video categories
Video is used on all our channels, in a variety of ways. What we output can be broken down in to three distinct categories of production.
Campaign Launch films
Whether for a product or the brand, Campaign films are the ultimate expression of what Cannondale stands for. This is where our product and brand campaigns come to life. Our launch films are central in campaign ideation and creative production and underpin the look and feel that comes to define our product launches.
User Generated Content
A User Generated video allows us to go in more directions as a brand because our collaborators are the author of the work. However, at the heart of that must be the core values of the brand. We define User Generated content as that produced whether independently or collaboratively outside the brand, either as a partnership or an isolated project. Our standards and brand guidelines for video still apply, but we work to make sure collaborators are onboarded with our way of working.
Always-on Content
Outside of the large-scale advertising film we produce for the brand and our products, Cannondale also owns several unique video series and content styles. This includes in house education and below the line advertising. Creative content produced in house includes waves, Cannondael Factory Racing, EF team, educational and instructional public facing content. Video content is often produced as multi-platform, which means it is likely to be formatted in multiple dimensions and durations.
Post-Production standards
The destinations for video are ever changing. We adapt and update our guidance on video delivery to keep the brand on track with this constant change and to optimise every activation.
Duration
Video content is delivered in a number of different durations. Pay close attention to the duration for the appropriate aspect ratio to determine any specifics required in its technical finishing. These are some key things to consider:
15 seconds: this duration often favours short posts on IG Stories, Facebook or YouTube Shorts. The brand must be prioritised within the first 2-3 seconds of any edits.
6 seconds: most widely used for YouTube pre-roll advertising, branding must be prioritized from the first frame.
Aspect Ratios
16:9 1:1 4:5 9:16
Most of our videos are shot 16:9 ratio for Youtube and our website. Consideration also needs to be given to other aspect ratios for social platforms. When converting to narrower ratios, always be sure not to lose essential elements. This often requires adjusting the edit and using a panning technique across clips to maintain elements of interest within the frame.
Video intended only for social should be cropped to a portrait ratio to maximise screen real estate and improve user experience. 9:16 and 4:5 are ideal, or 1:1 as a minimum.
Color Grading
As with photography, don't over-stylize your
color. Pick a look and be sure the entirety of
your video upholds it. In general, push the black and ensure adequate contrast.
Lower Thirds
1920 X 1080 Full HD:
Name: Favorit bold - height 72px, leading 150%
Title: Space Mono regular - height 40px
Placement is the same with and without Captions. The title lock-up can be either left or right-justified with a 10% side margin and a 14% bottom margin.
Wordmark End Card
The Wordmark is an essential element in any video.
The end card can be on Black, White, on-picture. Remember, most In-feed social videos loop so there is no need to add a logo to both ends. Test the video in loop mode before finalising the edit.
Landscape format videos: the logo width is 35% of the video width and centered both vertically and horizontally. Treatment of the logo is the same across all landscape aspect ratios.
Portrait format videos: the logo width is 55% of the video width and centered both vertically and horizontally. Treatment of the logo is the same across all portrait aspect ratios.
C-logo End Card
The C-logo is a non-essential element but a quality addition to videos that can accommodate it.
The end card can be on black, white, or on-picture. Remember, most In-feed social videos loop so there is no need to add a logo to both ends. Always test the video in loop mode.
Landscape format videos: the C-logo height is 15% of the video width and centered. Treatment of the C-logo is the same across all landscape aspect ratios.
Portrait format videos: the logo height is 25% of the video width and centered. Treatment of the C-logo is the same across all portrait aspect ratios.
Tagline End Card
Making sure our videos end with our tagline is a priority. It can appear on white or black or over an image. Timing is the key consideration when applying the tagline.
Landscape format videos: the letter height is 4% of the video height and centered. Treatment of the tagline is the same across all landscape aspect ratios.
Portrait format videos: the letter height is 4% of the video width and centered both vertically and horizontally. Treatment of the tagline is the same across all portrait aspect ratios.
Standard Titles Using Favorit
A standard title should use Favorit Regular, centred on the screen. A slight offset shadow may be required for readability on light backgrounds. Choose backgrounds wisely, if they are too busy the titles will be difficult to read.
Landscape format videos: the letter height is 4% of the video height and centered. Always keep the text on one line, unless it exceeds the 32 character limitation for 16:9.
Portrait format videos: the letter height is 4% of the video width and centred both vertically and horizontally. If you need to break the title into two lines set leading equal to 1.25 X the type height and center verticaly.
When designing standard titles and end cards, vertically align graphics and logos. Minor adjustments should be made to the scale and position to make each title feel optically consistent when the video is played, they shouldn’t jump around.
Standard Titles Using Space Mono
We use Space Mono in video much like we do when we apply Space Mono to digital or print. It adds a second level of information in a way that doesn’t overpower the primary title.
Landscape format videos: the letter height is 3% of the video height and centered. Always keep Space Mono on one line and within 32 characters for landscape video. Adhere to the standard type setting rules for Space Mono.
Portrait format videos: the letter height is 3% of the video width and centred both vertically and horizontally. Always keep Space Mono on one line and within24 characters for portrait video. Adhere to the standard type setting rules for Space Mono.
Standard Credits
Our Standard Credits use a combination of Favorit and Space Mono in a lockup. Space Mono is right justified, while Favorit is left justified. Both blocks of copy use the same line spacing and the two blocks are a fixed distance apart. The lockup can be moved left or right in to compensate for longer copy and find a natural center.
Creative Use of Standard Titles
Push the size of Favorit to add variety and
accentuate moments within a story.
Captioning
As a standard, we require subtitles on all video content containing dialogue/spoken word. When placing this content on platforms such as YouTube, which accept separate toggled caption (SRT) files, ensure there is no clash between those captions and any already featured in the video as a visual device.
When using SRT files the caption style can’t always be controlled. When it can, we use Favorit with a thin black outline. Always keep the text on one line, unless it exceeds a 32 character limitation for 16:9, in which case break the subtitle into two lines. Set leading to 130%.
Landscape format videos: the letter height is 4% of the video height and centered with a bottom margin of 5%.
Portrait format videos intended for mobile: the letter height is 4% of the video width and centred with a bottom margin of 5%. Increase the bottom margin to avoid any obstacles like swipe up elements.
Sound Levels
Whilst audio levels and mixing standards can vary, we expect normalised levels of between -9dbs to -14dbs for any video content destined for online. This ensures listening levels are at a normal level.
Video destined for screens or out of home advertising without sound should be delivered silent on export.
Mastering, Specifications and Export
We standardise the mastering of all video to ensure our brand
has usable and high-quality versions of all content.
Consistent and informative file naming helps us quickly identify
video versions. All video masters should be named clearly and
uniformly. We include information within the file name from
broad down to specific, for example:
File Naming
[Year_Category_Platform/product_ProjectTitle_Duration_Resolution_version_further spec_further spec.mov]
Example: C22_Road_TopstoneCarbon_LaunchFilm_60s_3840x2160_4KMaster.mov
Primary Masters
We require all video projects to be
mastered and delivered as ProRes 422
or 4444 depending on final resolution.
Textless masters
We also require these videos to be delivered
with all overlaid graphics and text removed.
Online masters
Finally, we require all final deliverables
set for release to be included.
CORE ELEMENTS
APPLICATION EXAMPLES
The foundation IS SIMPLE
Cannondale’s branding is built on our three core-graphic elements: our Wordmark, our C-Logo, and our Tagline, ‘come ride with us’
By combining our core-graphic elements in different ways we create a versatile identity that is easily recognisable.
We use these elements as graphics alone, in print applications, at trade shows, on vehicles, and on race clothing, But, it’s how these elements combine with photogrpahy in store, at trade shows and in static advertising where this identity really comes to life.
We don’t lockup these elements in a traditional, regimented format. Each element is liberated from the other. This section will illustrate how. But first, here’s an introduction to each element. You can learn more in the Logo section of these guidelines here and in the Tagline section also, here.
Corporate Wordmark
Our wordmark is always present. It is the primary expression of Cannondale and is always the first consideration in our branding design.
C-Logo
Our C-logo is sometimes present. We have a rich history of C-logos within the brand. A shorthand for Cannondale, our current C-logo is symbolic of our brand because it speaks to both past and present,. In 2023, the C-logo is defined by its proximity in orbit of the Wordmark. It does not take centre stage.
Tagline
Our tagline ‘come ride with us’ is also sometimes present. It is an invitation to our riders, current and future. It epitomises our openness as a brand and our commitment to an inclusive sport in all disciplines.
The Wordmark says Cannondale
The C-Logo implies Cannondale
'come ride with us' invites people to Cannondale
OUR APPETITE FOR NON CONVENTION
We don’t lockup the core-graphic elements in a regimented format. Each one is liberated from the other, in an expression of our openness as a brand.
Dominance is given to the brand tagline in this illustration of a shop hoarding that shows all three core-graphic elements being used at the same time. The elements are locked up in a grid formation.
The wordmark is prioritised in these illustrations of digital display ads.
In this example of a vertical billboard at a bicycle trade show the image floats within a white frame that contains the core-graphic elements around the outside. The design style is inspired by the tradition of cut+paste skateboard advertising.
The C-logo can be prioritised when the wordmark appears in the image on product. In this example of an instore workshop, two of the core-graphic elements are used (in constellation) to form unique graphic accents within the image.
Cannondale emails use a modular template to maintain a consistant design. The wordmark is always prominent at the top. In this example a short, punchy title is overlaid on the image to grab attention and the CTA invites us to ‘Read the story’.
A series of modules are available to expand the email format when required. The longer the format the more consideration should be given to image selection and copy so that multiple elements do not clash.
In this example, a copy module has been added to a product image. The background colour of the email has also been adapted to match the backdrop colour of the image and create a seamless background to the design.
The skate-style cut+paste format that we apply to single-page ad design is flyposted together in this example to create a landscape format that features multiple stories in one ad.
Example of a single page product advert that prioritises a paltform specific tagline.
Example of a single-page lifestyle ad that incorporates all the core-graphic elements using the skate-style cut+paste design in which the white border is characteristic.
The core-graphic elements can be used in a standard horizonal lockup. The lockup is easily adapted to fit portrait and landscape situations.
The core-elements are versatile. When the standard horizontal lockup is not appropraite for a situation the core-graphic elemets can be rearranged to fit the chosen image and optimise the clarity of the core-graphic elements in ways that do not clash with the composition.
The core-elements are clean, simple and distinctive. When content is transfered to the Cannondale website, the prominance of the wordmark in our branding and the use of Favorit in our tagline is instantly recognisable in the design of our website and maintains a consistent sense of graphic identity across the brand.
The oversized wordmark is used in this workshop poster to make the brand name dominant in the design.
The skate-style cut+paste design is easily adapted to fit different environments.
Inhouse foyer, branding example.
Headed paper, envelope, compliments slip, business card.
Direct-to-customer packaging with double-pass white screen print.
The core-graphic elements are used in the standard horizonal
lockup formation on the outside of a bike box.
Tumble wordmark and corporate wordmark - event tent , top
Core-graphic elements applied to the tour bus
For this large race tent the core-graphic elements work in constellation
and are visible in a variety of ways, from different perspectives.
Race event, gazebo.
A ‘CFR Green’ spot colour is used for the handles of these promotional bags with two sided graphics.
Race event hoardings can be applied as single panels, pairings, combined sequences, or repeats.
The oversize wordmark spread across three hoardings to form a combined graphic.
The oversize wordmark applied to race tape. The base colour can be adapted to match the team livery at the event.
INTRODUCTION
Design Principles
logotype
typography
color
photography
Applications
INTRODUCTION
Welcome to LAB71: the ultimate expression of Cannondale. The best of the best. The nth degree. LAB71 is a division with one simple mandate: to make the machines of dreams. The lightest. The fastest. The most stunning, on and off the bike. Every detail considered. Every component analyzed. Every material optimized.
These are creations to covet, but more importantly, creations to ride. Bikes that beckon and inspire. Bikes that transcend the expected. Bikes that let you reimagine what’s possible. Welcome to the LAB.
Performance First
Performance Foremost
Since 1971, performance has been a key consideration. With LAB71, it’s the only thing that matters. Frames and bicycles that emerge with the LAB71 moniker are made to dominate.
The Art of Refinement
We start with our fastest, most innovative, most exciting bikes, then refine them to the next level, and beyond. The pinnacle in materials, finishes, componentry, and special touches. LAB71 is our best, done better.
All for the Ride
And the Rider
The bikes that come from LAB71 are not intended for hanging on the wall. They’re dreamt, designed, engineered, and produced to give you advantage and thrill, to build desire and help you better your best.
Design Principles
Our design principles guide the creative direction across all LAB71 touchpoints. Collectively, they are the foundation upon which LAB71’s visual and conceptual identity is built. They are for designers and non-designers alike – anyone authoring or authorizing creative execution on behalf of LAB71.
Innovative
Introducing new ideas. Original and creative thinking that defies convention.
Premium
Elevated experience that transcends both product and message.
Crafted
Precise execution. Attention to detail, even within the detail.
In 1971, our pursuit for innovation began. Now it has a name: LAB71.
LAB71 Logotype
The logotype is the primary identifier for the LAB71 brand. It conveys the name, the mission, and the legacy behind it.
Registration Mark
The registration mark is part of the logotype design. It must not be removed, nor should the LAB71 logotype be applied without it.
Logotype Alignment
When center-aligning the LAB71 logotype, it must be done so optically. This means using not its true center, but the optical center, allowing the whole logotype to be presented as balanced.
Logotype Exclusion Zone
To maintain the visual integrity of the logotype, there are rules outlining the minimum amount of space surrounding it. This is known as the exclusion zone. The LAB71 logotype exclusion zone is determined by using half of the X-height of the logotype and applying it as a border measurement.
Minimum Size
Trust your judgment. If the logo is hard to read, it is too small.
Logotype Proportion
We use the LAB71 logotype in so-called Classic and Oversize proportions:
Classic: elegant and minimal, to evoke storytelling
Oversize: bold and dominant, to make a statement
Logotype Orientation
Horizontal use of the LAB71 logotype should be prioritized over vertical usage. However, in some situations, it can be used vertically, to maximize visibility and optimize space.
Logotype Misuse
The LAB71 logotype must never be changed. This includes the stretching or warping of the logotype, rotating it, mirroring it, or adjusting the letter spacing or exclusion zone around it. These practices diminish the logotype’s identity and value, so please avoid the following treatments:
1. Do not frame
2. Do not distort
3. Do not use unapproved colors
4. Do not outline
5. Do not apply effects
6. Do not angle
Logotype Contrast
Always be sure there is enough contrast between the background and the logotype. On dark backgrounds, use in white. On light backgrounds, use in black. Here are a few examples of ideal contrast combinations.
Platform Lockups
The multi-lockup expresses the attention to detail that goes into every LAB71 product. Here are some examples:
Primary Typeface
LAB71 typography is based on the core Cannondale brand typefaces Favorit and Space Mono. Typography should be subtle, clear, and concise. Please refer to the Typography section of the Cannondale Cannondale Brand Guidelines for more guidance, here.
Complementary Typeface
Space Mono is our complementary typeface. It is a fixed-width typeface that expresses technicality and precision. It balances the mixed-case of Favorit, and is ideal for indicating key details in copy, as well as giving shape to blocks of text when used in conjunction with Favorit. Space Mono is always set in Regular weight and UPPER CASE. Please refer to the Typography section of the Cannondale Cannondale Brand Guidelines for more guidance, here.
Typography Principles
When setting copy, it is important to create hierarchy with scale. Headlines should be the largest size. Subheaders and body copy should be secondary in size. Further details should be the smaller, or the same size as the body copy, depending on situation. Please refer to the Typography section of the Cannondale Cannondale Brand Guidelines for more guidance, here.
Written Format
In Body Copy: The written format for “LAB71 by Cannondale” must be presented on a single line using uppercase characters of the font Favorit. The ® is not shown (only if needed for legal).
Signature headline: Set in Favorit Light, with a letter spacing of 200.
Color
The LAB71 color palette makes use of the simplicity of black, white, and grey combined with colorful seasonal photography. Examples in the Applications section will show examples of color execution.
LAB71 logo should always be used in Deep Black:
Lifestyle Photography
Here are some examples of LAB71 lifestyle photography. Please see the Cannondale Brand Guidelines for further Photography guidance, here.
Studio and Product Photography
Here are some examples of LAB71 studio and product photography. Please see the Cannondale Brand Guidelines for further Photography guidance, here.
Digital Applications
Social Paid ads Static
Animated ad
Digital - Social Paid ads
Digibanner
Video End Titles
Sign-Up Page / Email
Digital - Website and Email
Downloads Index
