Open AI Brand Book
Version 1.0.1 September 2022 Prepared by AREA 17 OpenAI Brand guidelines
Our mission is to ensure that artificial general intelligence benefits all of humanity. Mission
This document sets up the foundations of the OpenAI brand. Understanding and adhering to these standards will be essential in maintaining a consistent brand presence and supporting the brands future ambitions. This is not an exhaustive representation of all brand elements, however it is intended to serve as a starting point for documenting fundamental aspects of the brand like the logo and color. As the brand evolves this document should be updated accordingly. These guidelines are intended to help guide and inspire you as you bring the brand to life. Before you create new assets, consult these guidelines to ensure you’re on the right track. You can also share this document with any partner agencies, writers, or designers who may be creating the work for you. Introduction
1.0 1.1 1. 2 2 .0 2 .1 2 . 2 2 .3 2 .4 2 .5 2 .6 2 .7 2 .8 2 .9 2 .10 3.0 3.1 3. 2 3.3 3.4 3.5 3.6 3.7 3.8 4.0 4.1 4. 2 4.3 4.4 4.5 5.0 5.1 5. 2 5.3 5.4 5.5 5.6 5.7 6.0 6.1 6. 2 6.3 6.4 6.5 6.6 7.0 8.0 8.1 8. 2 8.3 8.4 8.5 8.6 8.7 8.8 8.9 8.10 Introduction Purpose Brand values Logo Introduction Logomark Logotype Lockup Clearance Color Minimum sizes Placement Avatar What to avoid Color Introduction Primary Secondary Tertiary Supplemental Shades Color contrast Themes Typography Introduction Serif Sans-serif Weights What to avoid Iconography Introduction Grid Weight Scale Alignment Style Library Photography Introduction Color Composition Elements Light and shadow AI generated Data visualization Introduction Grid lines & markers Spacing Primary colors Secondary colors Tertiarty colors Lines Bar & column charts Line charts Area charts Pie & donut charts 04 05 06 07 08 09 10 11 12 13 15 16 17 18 19 20 21 22 23 24 25 35 39 49 50 51 54 58 59 60 61 62 64 65 66 67 68 70 71 72 75 78 81 84 86 87 88 89 91 92 96 100 102 105 106 107 Introduction
1.1 1.2 Strategy Brand values Introduction 1.0
1.1 Introduction Strategy Our brand values are rooted in our mission to ensure artificial general intelligence benefits all of humanity and can be drawn upon to guide future design explorations.
1. 2 Introduction Brand values Gravitas Reflect the seriousness of our commitment to safety. Intentional, solid, firm. Precision Reflect the exper tise, rigor, and excellence behind our work. Clarified, Exact , Orderly. Approachable Reflect our impact on humanity and all that we do to empower people. Open, Optimistic, Warm. Allure Reflect the wonder and awe in the technology and our messy, play ful approach to discover y. Unexpected, Delightful, Mysterious. Bold Reflect the sc ale and scope of what we want to accomplish. Innovative, Groundbre aking, Novel.
2 .1 2 . 2 2 .3 2 .4 2 .5 2 .6 2 .7 2 .8 2 .9 2 .10 Introduction Logomark Logotype Lockup Clearance Color Minimum sizes Placement Avatar What to avoid Logo 2 .0
2 .1 Logo Introduction As our most recognizable brand element, our logo blends rigid machine- like construction with the finesse of the human touch. These formal qualities express our focused pursuit to create technology that benefits humanity.
2 . 2 Logo Logomark Our logomark is the shorthand for our brand. It’s easy to recognize, and works perfectly as both a simple sign- off and visual tool in a piece of our internal communication—where your audience might be familiar with the context of the OpenAI brand.
2 .3 Logo Logotype The logotype is generally not used without the logomark. However, the logotype has been optically adjusted to ensure an even rhythm between the letters. When possible, use the approved logotype as opposed to typing out the name of the company. When dealing with live text , do not use the logotype, instead use live text .
2 .4 Logo Lockup Our lockup is the structured relationship between the logomark and logotype. It is the most common use of the logo. It should be used for external facing applications as the use of the logomark with the logotype help provide context and establish brand recognition.
2 .5 Logo Clearance The area around the logo should always provide ample space so that the balance and wholeness of the logo are not crowded or constrained by external elements. The diagrams show the correct amount of space that should surround the logo. No accompanying text or logos should appear in this area .
2 .6 Logo Color Whenever possible, the logo should appear on the primary black or white backgrounds. These applications reflect our core brand values and are suitable for instances when a quieter brand presence is necessary, such as a header on a website or letterhead and business card. White Black
2 .6 Logo Color When a louder brand presence is needed, such as a billboard or subway advertisement , the logo may be paired with a selection of our primary brand colors. Red 700 Green 600 Blue 600
27 Logo Minimum sizes To ensure readability and legibility of the , brand mark, logotype and lockup across all screens and digital devices the logo should not be used at sizes below 126px wide. 118px Menu
2 .8 Logo Placement Our logo should appear lef t-aligned along the top or bottom of a page or document cover. Do not center the logo horizontally.
2 .9 Logo Avatar The avatar should be used for small formats, like social media icons. Do not use the avatar treatments for large graphic such as a posters, banners or billboard advertisement .
2 .10 Logo What to avoid Do not use color combinations that make the logomark illegibl Do not use different colors for the colors logotype and the symbo# Do not disproportionately stretch or warp the log, Do not stylize or alter the logo including outlining it , adding a drop shadow or bevel, or any stylistic effec) Do not scale, reposition or modif y the logo in any way& Do not place the logo over images which make the logomark illegible or use in any color other than white or black when being placed on top of an image
3.1 3. 2 3.3 3.4 3.5 3.6 3.7 3.8 Introduction Primary Secondary Tertiary Supplemental Shades Color contrast Themes Color 3.0
3.1 Color Introduction OpenAI is an empty vessel that adapts to its content. To embody this concept, the OpenAI brand relies heavily on the use of black and white.
3. 2 Color Primary White R G B 255 255 255 C M Y K 0% 0% 0% 0% # FFFFFF P --- Black R G B 0 0 0 C M Y K 30% 30% 30% 100% # 000000 P --- Our primary color palette is pure black and white. Black and white are preferred for most scenarios and sufficiently communicates our brand value that OpenAI is an empty vessel that adapts to its content . The stark contrast of black and white expresses the boldness and precision we have as an organization. The interplay of black and white can also be expressed in creative ways by playing with different blend modes when setting text over photography. This symbolizes our focus on the tension between what’s natural and artificial and the duality between human and machine.
3.3 Color Secondary R G B 255 69 01 C M Y K --- --- --- --- # FF4500 P --- Red R G B 81 218 76 C M Y K --- --- --- --- # 51DA4C P --- Green R G B 0 0 255 C M Y K --- --- --- --- # 0000FF P --- Blue OpenAI has no singular brand color. Our secondary color palette is diverse and utilizes a flat hierarchy. The highly saturated colors embrace the technology used to create a digital world. Red, green, and blue values evoke the additive color space of screens.
3.4 Color Tertiary R G B 255 246 57 C M Y K --- --- --- --- # FFF639 P --- Yellow R G B 255 69 255 C M Y K --- --- --- --- # FF45FF P --- Magenta R G B 0 255 255 C M Y K --- --- --- --- # 00FFFF P --- Cyan To expand our color palette, we took inspiration from other methods of producing color— CMYK printing. Our tertiary colors serve as an analog counterpart to the RGB values from our secondary palette. The tertiary colors should be used sparingly. They are typically used when additional values are needed for data visualization or when the asset of a page works well with a pre - determined color theme.
3.5 Color Supplemental R G B 2541 180 C M Y K --- --- --- --- # FE7600 P --- Orange R G B 138 43 226 C M Y K --- --- --- --- # 8A2BE2 P --- Violet R G B 160 82 45 C M Y K --- --- --- --- # A0522D P --- Brown The supplemental colors are to be used when absolutely necessary. They work well when an action has a standard color associated with it . For example: orange works well as a cautionary color for UI elements, like when a user is filling our a form with sensitive information.
3.6 Color Shades (Primary) gray-900 #000000 gray- 800 #393939 gray-700 #747474 gray- 600 #A8A8A8 gray-500 #CD CD CD gray- 400 #FFB7A4 gray-300 #E5E5E5 gray-200 F5F5F5 gray-100 #FAFAFA gray- 000 #FFFFFF Gray
3.6 Color Shades (Secondary) red-900 #541600 red- 800 #AA2E00 red-700 #FF4500 red- 600 #FF6E3C red-500 #FF9574 red- 400 #FFB7A4 red-300 #FFD3C9 red-200 #FFE0DB red-100 #FFEDEB red- 050 #FFF7F6 Red
3.6 Color Shades (Secondary) green-900 #193718 green- 800 #2D712A green-700 #3FA93B green- 600 #51DA4C green-500 7CF178 green- 400 #A6FFA3 green-300 #C9FFC7 green-200 #D9FFD8 green-100 #E9FFE8 green- 050 #F4FFF4 Green
3.6 Color Shades (Secondary) blue -900 #00002E blue - 800 #020267 blue -700 #0404AC blue - 600 #0000FF blue -500 #3C46FF blue - 400 #7989FF blue -300 #AFC1FF blue -200 #CBD CFF blue -100 #E5F1FF blue - 050 #F4FBFF Blue
3.6 Color Shades (Tertiary) yellow-900 #3 43322 yellow- 800 #6C6837 yellow-700 #A19A3A yellow- 600 #CFC52C yellow-500 #F5E60D yellow- 400 #FFF639 yellow-300 #FFFF66 yellow-200 #FFFF8F yellow-100 #FFFFB6 yellow- 050 #FFFFDB Yellow
3.6 Color Shades (Tertiary) mangenta-900 #400040 mangenta- 800 #830083 mangenta-700 #C500C5 mangenta- 600 #FF00FF mangenta-500 #FF45FF mangenta- 400 #FF8BFF mangenta-300 #FFC1FF mangenta-200 #FFD7FF mangenta-100 #FFF2FF mangenta- 050 #FFF9FF Magenta
3.6 Color Shades (Tertiary) cyan-900 #005454 cyan- 800 #00B3B3 cyan-700 #00E7E7 cyan- 600 #00FFFF cyan-500 #42FFFF cyan- 400 #82FFFF cyan-300 #B3FFFF cyan-200 #CAFFFF cyan-100 #E0FFFF cyan- 050 #F0FFFF Cyan
3.6 Color Shades (Supplemental) orange -900 #401900 orange - 800 #833600 orange -700 #C45600 orange - 600 #FE7600 orange -500 #FFA045 orange - 400 #FFC98A orange -300 #FFE8C1 orange -200 #FFF1D6 orange -100 #FFF9EA orange - 050 #FFFCF5 Orange
3.6 Color Shades (Supplemental) violet-900 #2804 4A violet- 800 #571397 violet-700 #8A2BE2 violet- 600 #B161FD violet-500 #D292FF violet- 400 #EBBBFF violet-300 #FCDAFF violet-200 #FEE6FF violet-100 #FFF2FF violet- 050 #FFF9FF Violet
3.6 Color Shades (Supplemental) brown-900 #2A1003 brown- 800 #51230D brown-700 #793A1C brown- 600 #A0522D brown-500 #B67252 brown- 400 #CB9379 brown-300 #E1B59F brown-200 #E8C7B6 brown-100 #F0DACF brown- 050 #F7ECE6 Brown
3.7 Color Color contrast Aa Aa Aa Aa Aa Aa Aa Aa Whenever the color system is applied it is critical that all texts maintain clear and legible color contrasts. In digital contexts the OpenAI brand maintains the highest levels of accessibility to ensure our platform is considerate of all types of users, including those with low vision and blindness. Contrast ratios represent how different one color is from another and is commonly written as 1:2 or 21:1. The greater the difference is between the numbers the higher the color contrast is between both colors. The World Wide Web Consortium (WCAG) recommends Large text (defined as 14pt bold or 18pt regular) to maintain a 3:1 color contrast ratio against the background the text is set on. For small text colors must maintain a 4.5:1 contrast against its background. All colors within the OpenAI color system conform with the WCAG color contrast requirements.
3.7 Color Color contrast Aa Aa Aa Aa Aa Aa Aa Aa Aa Aa Aa Aa This chart represents the appropriate text colors for text set on tertiary and supplemental background colors.
3.8 Color Themes 30 color themes have been predefined for immediate use. The themes are based on our core 10 colors. For each theme there exists a light , mid, and dark version. Color themes should be used to create moments of emphasis. The themes are manually selected and up to the judgment of the designer to determine the level of appropriateness. l i g h t - r e d m i d - r e d d a r k - r e d l i g h t - b r o w n m i d - b r o w n d a r k - b r o w n l i g h t - o r a n g e m i d - o r a n g e d a r k - o r a n g e l i g h t - y e l l o w m i d - y e l l o w d a r k - y e l l o w l i g h t - g r e e n m i d - g r e e n d a r k - g r e e n l i g h t - c y a n m i d - c y a n d a r k - c y a n l i g h t - b l u e m i d - b l u e d a r k - b l u e l i g h t - v i o l e t m i d - v i o l e t d a r k - v i o l e t l i g h t - m a g e n t a m i d - m a g e n t a d a r k - m a g e n t a l i g h t - g r a y m i d - g r a y d a r k - g r a y
3.8 Color Themes Neutral Aa Light g r a y - 9 0 0 g r a y - 0 0 0 Aa Mid g r a y - 9 0 0 g r a y - 6 0 0 Aa Dark g r a y - 0 0 0 g r a y - 9 0 0
3.8 Color Themes Red Aa Light b l u e - 6 0 0 r e d - 2 0 0 Aa Mid g r a y - 9 0 0 r e d - 7 0 0 Aa Dark b l u e - 3 0 0 r e d - 9 0 0
3.8 Color Themes Green Aa Light m a g e n t a - 7 0 0 g r e e n - 2 0 0 Aa Mid g r a y - 9 0 0 g r e e n - 6 0 0 Aa Dark m a g e n t a - 4 0 0 g r e e n - 9 0 0
3.8 Color Themes Blue Aa Light y e l l o w - 9 0 0 b l u e - 1 0 0 Aa Mid g r a y - 0 0 0 b l u e - 6 0 0 Aa Dark y e l l o w - 4 0 0 b l u e - 9 0 0
3.8 Color Themes Cyan Aa Light o r a n g e - 8 0 0 c y a n - 2 0 0 Aa Mid g r a y - 9 0 0 c y a n - 6 0 0 Aa Dark o r a n g e - 4 0 0 c y a n - 9 0 0
3.8 Color Themes Magenta Aa Light g r e e n - 8 0 0 m a g e n t a - 1 0 0 Aa Mid g r a y - 9 0 0 m a g e n t a - 5 0 0 Aa Dark g r e e n - 6 0 0 m a g e n t a - 9 0 0
3.8 Color Themes Yellow Aa Light b l u e - 6 0 0 y e l l o w - 1 0 0 Aa Mid g r a y - 9 0 0 y e l l o w - 4 0 0 Aa Dark b l u e - 1 0 0 y e l l o w - 9 0 0
3.8 Color Themes Orange Aa Light b l u e - 6 0 0 o r a n g e - 2 0 0 Aa Mid b l u e - 7 0 0 o r a n g e - 6 0 0 Aa Dark b l u e - 1 0 0 o r a n g e - 9 0 0
3.8 Color Themes Violet Aa Light g r e e n - 8 0 0 v i o l e t - 2 0 0 Aa Mid g r e e n - 4 0 0 v i o l e t - 7 0 0 Aa Dark g r e e n - 5 0 0 v i o l e t - 9 0 0
3.8 Color Themes Brown Aa Light b l u e - 6 0 0 b r o w n - 2 0 0 Aa Mid b l u e - 1 0 0 b r o w n - 6 0 0 Aa Dark b l u e - 3 0 0 b r o w n - 9 0 0
3.8 Color Products Primary color themes (red, blue, or green) should be used to represent products in digital contexts like a page header or related feature within the website. Rese arch Product S afety Company S e arch Log in Sign up DALL·E We work on a range of problems with the goal of achieving AGI. Nullam a turpis ut sem fermentum tincidun endrerit consequat urna in aliquet . Nullam a turpis ut sem. View open roles Rese arch Product S afety Company S e arch Log in Sign up Codex We work on a range of problems with the goal of achieving AGI. Nullam a turpis ut sem fermentum tincidun endrerit consequat urna in aliquet . Nullam a turpis ut sem. View roles Rese arch Product S afety Company S e arch Log in Sign up GPT-3 We work on a range of problems with the goal of achieving AGI. Nullam a turpis ut sem fermentum tincidun endrerit consequat urna in aliquet . Nullam a turpis ut sem.
4.1 4. 2 4.3 4.4 4.5 Introduction Serif San-serif Weights What to avoid Typography 4.0
4.1 Typography Introduction Typography is an essential element of our identity and a powerful tool for achieving consistent expression in our communication.
4. 2 Typography Serif Signifier ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!@#$”%^&*,;/{}[]()?! Signifier is used for long form content and for moments to communicate a brand voice. When additional emphasis is needed, use the italic version of the font .
4. 2 Typography Serif: line -height OpenAI conducts fundamental, long-term research toward the creation of safe AGI. 100% Op enA I’s mission is to ensure that ar tificial general intelligence (AGI)—by which we mean highly autonomous systems that outp erform humans at most economically valuable work—b enefits all of humanity. 130% We commit to use any influence we obtain over AGI’s deployment to ensure it is used for the b enefit of all, and to avoid enabling uses of A I or AGI that harm humanity or unduly concentrate p ower. Our primar y fiduciar y duty is to humanity. We anticipate needing to marshal substantial resources to fulfill our mission, but will always diligently act to minimize conflicts of interest among our employees and stakeholders that could compromise bro ad b enefit. 140% Line -height is the space between baselines and it determines the legibility and readability of the typography and also impacts the strength of voice. As a general rule of thumb, the line -height of text should be reduced as the size of the text increases. For body text , the line -height should increase to give the texts room to breath and space for the reader ’s eye to rest . Please refer to the typography scale on the next page for line -height values corresponding to your chosen type size.
4. 2 Typography Serif: scale The type sizes in the system are derived from a mathematical formula which systematizes traditional types sizes. It utilizes a pentatonic scale. This means the type size doubles every five steps. Pentatonic Formula: a n = a 0 × r (n-1) a n = The type size / term in the sequence a 0 = The base type size, 12pt r = 2 (1/5) n = The step in the scale. e.g. step 1 = 12pt Style Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light Signifier Light 9 10 11 12 14 16 18 21 24 28 32 36 42 48 55 64 73 84 96 140% 140% 140% 140% 140% 140% 140% 140% 130% 130% 130% 130% 130% 120% 120% 110% 110% 110% 110% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% -1% (-0.01em) -1% (-0.01em) -1% (-0.01em) -1% (-0.01em) -1% (-0.01em) -2% (-0.02em) -2% (-0.02em) -2% (-0.02em) -2% (-0.02em) metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric Type size Line -height Letter-spacing Kern setting
4.3 Typography Sans-serif Söhne ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!@#$”%^&*,;/{}[]()?!↑←↓→ Söhne is the memory of Akzidenz- Grotesk framed through the reality of Helvetica . It captures the analogue materiality of “Standard Medium” used in Unimark’s legendary way finding system for the NYC Subway.
4.3 Typography Sans-serif: line -height OpenAI conducts fundamental, long-term research toward the creation of safe AGI. 100% OpenAI’s mission is to ensure that artificial general intelligence (AGI)—by which we mean highly autonomous systems that outperform humans at most economically valuable work—benefits all of humanity. 130% We commit to use any influence we obtain over AGI’s deployment to ensure it is used for the benefit of all, and to avoid enabling uses of AI or AGI that harm humanity or unduly concentrate power. Our primar y fiduciar y duty is to humanity. We anticipate needing to marshal substantial resources to fulfill our mission, but will always diligently act to minimize conflicts of interest among our employees and stakeholders that could compromise broad benefit . 140% The line -height recommendations are the same for both serif and sans-serif typography. Again, as a general rule of thumb, line -heights should be reduced as the type size increases.
4.3 Typography Sans-serif: scale This list demonstrates 21 typographic steps in our scale for Söhne Buch. If larger sizes are needed the formula can be used to generate additional harmonious sizes. Style Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch Söhne Buch 6 7 8 9 10 12 14 16 18 21 24 28 32 36 42 48 55 64 73 84 96 130% 130% 130% 130% 130% 130% 130% 130% 130% 130% 120% 120% 120% 120% 120% 120% 110% 110% 100% 100% 100% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% -1% (-0.01em) -1% (-0.01em) -1% (-0.01em) -1% (-0.01em) -1% (-0.01em) -2% (-0.02em) -2% (-0.02em) -2% (-0.02em) -2% (-0.02em) -2% (-0.02em) -2% (-0.02em) metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric Type size Line -height Letter-spacing Kern setting
4.3 Typography Sans-serif: scale This list demonstrates 21 typographic steps in our scale for Söhne Halbfett . If larger sizes are needed the formula can be used to generate additional harmonious sizes. Style Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett Söhne Halbfett 6 7 8 9 10 12 14 16 18 21 24 28 32 36 42 48 55 64 73 84 96 130% 130% 130% 130% 130% 130% 130% 130% 130% 130% 120% 120% 120% 120% 120% 120% 110% 110% 100% 100% 100% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% -1% (-0.01em) -1% (-0.01em) -1% (-0.01em) -1% (-0.01em) -1% (-0.01em) -2% (-0.02em) -2% (-0.02em) -2% (-0.02em) -2% (-0.02em) -2% (-0.02em) -2% (-0.02em) metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric metric Type size Line -height Letter-spacing Kern setting
4.4 Typography Weights Signifier Light Söhne Buch Söhne Halbfett Söhne Mono Buch Our typographic system utilizes a very limited set of weights and styles and evokes a sense of simplicity and gravitas. Signifier Light can be deployed when more brand presence is necessary or for publica- tions and research documents when a more classic feel is appropriate. Söhne is our workhors sans-serif typeface and works well alongside of Signifier in many instances. Söhne Halbfett can be used to create contrast and texture for typographic elements like eyebrows above a list item or secondary section titles. Söhne Mono is used sparingly for instances where a more techinical feel is appropriate, like representing AI generated code within a product module on the website.
4.5 Typography What to avoid OpenAI is an AI research and deployment company. Our mission is to ensure that artificial general intelligence benefits all of humanity. OpenAI is an AI research and deployment company. Our mission is to ensure that artificial general intelligence benefits all of humanity. OpenAI is an AI research and deployment company. Our mission is to ensure that artificial general intelligence benefits all of humanity. O p e n A I i s a n A I r e s e a r c h a n d d e p l o y m e n t c o m p a n y . O u r m i s s i o n i s t o e n s u r e t h a t a r t i fi c i a l g e n e r a l i n t e l l i g e n c e b e n e fi t s a l l o f h u m a n i t y . OpenAI is an AI research and deployment company. Our mission is to ensure that artificial general intelligence benefits all of humanity. OpenAI is an AI research and deployment company. Our mission is to ensure that artificial general intelligence benefits all of humanity. Avoid extremely tall leading for both heading and body textƒ Avoid overly tight leading, with crashing ascenders and descenders, for both heading and body textƒ Avoid overly tight tracking, with crashing glyphsƒ Avoid overly wide trackingƒ Avoid mixed weights or fonts within a single headline.ƒ Do not set headlines in all caps. Our brand language sets headlines in Sentence Case.
5.1 5.1 5. 2 5.3 5.4 5.5 5.6 Introduction Grid Weight Scale Alignment Style Library Iconography 5.0
5.1 Iconography Introduction Inspired by our logo and sans-serif typeface Söhne, our iconography utilizes simple forms to efficiently communicate ideas.
5. 2 Iconography Grid Our iconography system is craf ted on a 16px grid. Be sure to always design your icons based on this grid. Also provided in the diagram to the right is an example of clear space around each glyph, as well as key-lines that should be used to align shapes. For horizontally proportioned icons used the horizontal key-lines provided. For vertically proportioned icons, be sure to align your shapes to the vertically proportioned key- lines. Examples of the 16px grid units, key-lines and margins.
5.3 Iconography Grid Example of icons drawn on the grid. Shapes align to relevant keylines. Angles are drawn at 15° increments.
5.4 Iconography Weight Our icons use two main strokes weights: 1.4px stroke = 400 weight 2px stroke = 500 weight Be sure to scale line -weight while adjusting the size of icons. Use the keyboard shortcuts to scale proportionally while maintaining line - weight . 400 weight 600 weight
5.4 Iconography Scale Our icons use two main stroke weights that scale proportionally with the size of the text and weights that accompany each shape. If you are pairing iconography with Söhne Buch, which is equivalent to a 400 weight , use a 1.4px stroke width. If you are pairing iconography with text that is set in Söhne Halbfett , the equivalent of a 500 weight , used a 2px. Söhne Kräftig 18 Söhne Kräftig 16 Söhne Kräftig 15 Söhne Kräftig 14 Söhne Kräftig 13 Söhne Kräftig 12 Söhne Kräftig 21 Söhne Kräftig 24 Söhne Kräftig 28 Söhne Kräftig 32 Söhne Kräftig 36 Söhne Kräftig 42 Söhne Kräftig 48 Söhne Kräftig 54 Söhne Kräftig 60 Söhne Kräftig 72 Söhne Buch 12 Söhne Buch 13 Söhne Buch 14 Söhne Buch 15 Söhne Buch 16 Söhne Buch 18 Söhne Buch 21 Söhne Buch 24 Söhne Buch 28 Söhne Buch 32 Söhne Buch 36 Söhne Buch 42 Söhne Buch 48 Söhne Buch 54 Söhne Buch 60 Söhne Buch 72
5.5 Iconography Alignment When pairing iconography with text , ensure the icon vertically aligns within the cap -height of the related text . Söhne Kräftig 72 Söhne Kräftig 72
5.6 Iconography Style Mitered caps Use miter joins for corners. Use butted c aps for stroke endings.
5.6 Iconography Library A diverse set of iconography can be referenced here. As you design and add new icons to the system, please ensure the style and characteristics feel cohesive with the existing iconography. arrow-nor the ast arrow-upwards arrow-rightwards arrow- downwards arrow-lef twards chevron-upwards chevron-rightwards chevron- downwards chevron-lef twards filter plus minus se arch x information
5.6 Iconography Library Our iconography is minimalistic, and explores the simplest shapes needed to communicate an idea . For example, a checkbox is a stroked square and a filled square. A radio button is a stroked circle and a filled circle checkbox-unselected checkbox-selected radio -unselected radio -selected play pause loading checkmark
6.1 6. 2 6.3 6.4 6.5 6.6 Introduction Color Composition Elements Light and shadow AI generated Photography 6.0
6.1 Photography Introduction Our photography expresses warmth, approachability, and humanity. We capture the intimate and messy moments that showcase real people behind our technology and products.
6. 2 Photography Color The color and tone of the photography should be rich and warm. This will evoke an emotional feeling of our impact on humanity and all that we do to empower people. The white balance should skew slightly toward an amber color temperature and magenta tint .
6. 2 Photography Color: do’s Here are some guiding principles when creating photography assets. They're not hard and fast rules, nor a complete set , but are provided as a starting point for you to consider when shooting imagery to be used for print or digital collateral. Shoot organic compositions where the subject matter does not feel staged. Rich and warm color tones make our photography feel human and approachable. Play with light and shadow to cre ate visual interest . Imper fect and natural colors play express our messy, play ful approach to discover y.
6. 2 Photography Color: dont’s Here are some guiding principles when creating photography assets. They're not hard and fast rules, nor a complete set , but are provided as a starting point for you to consider when shooting imagery to be used for print or digital collateral. Avoid shooting with too many highlights or contrast . Avoid ar tificial lighting cre ating overly sharp images. Avoid lighting that makes skin color appe ar unnatural. Avoid unnatural lighting.
6.3 Photography Composition The composition we use will immediately invoke a feeling to the viewer. Use these guiding principles to ensure our photography work aligns with our design values.
6.3 Photography Composition: do’s Here are some guiding principles or examples of compositions to inspire future photo work. Silhouettes are useful for showing people and humanity, without showing identity. Incre ased depth- of-field brings a sense of sof tness/finesse to the compositions. Objects in the foreground add a sense of depth and intrigue. Reflections cre ate a dynamic composition and evokes a sense of magic.
6.3 Photography Composition: dont’s Here are examples of types of imagery to avoid. Avoid tilted c amera angles. Avoid busy images with no cle ar subject matter. Avoid images that do not include people. Avoid staged or stock photography.
6.4 Photography Elements Like all of the brand elements from typography to color to photography, our choices should always tie back to our brand values. We can use photography to dial up the approachability and allure of the OpenAI brand. To do this we leverage elements native to analog photography. These include elements such as, visible grain, overly-high contrast of images, and minor imperfections such as sof t focus.
6.4 Photography Elements: do’s These examples show various ways in which we can use photography to invoke allure and approachability. Slow shutter speeds c an be used to give static images a sense of movement . A high amount of grain is a nod to analog photography without over doing it . Out of focuse elements adds sof tness to an image. Shooting with film ensures our photography doesn't feel overly per fect or too sterile.
6.4 Photography Elements: dont’s Our photography style takes cues from film photography, but as a way of showing precision and finesse, we should avoid over stylizing photography. Avoid light le aks. Avoid over stylized image that cre ate a sense of busyness. Avoid showing film grain information or brackets . Do not use additional ef fects that are not native to a film medium.
6.5 Photography Light and shadow Our photography should feel natural. To achieve this effect we rely on natural lighting whenever possible. The color temperature of daylight skews towards the warmer end of the color spectrum.
6.5 Photography Light and shadow: do’s The color and tone of the photography should be rich and warm. This will evoke an emotional feeling of our impact on humanity and all that we do to empower people. The white balance should skew slightly toward an amber color temperature and magenta tint . Silhouettes are a gre at way to show people without showing identity Reflections cre ate a dynamic composition and evokes a sense of magic. Utilize natural light sources to bring warmth to imager y. A well placed shadow c an make an image feel more natural and less staged.
6.5 Photography Light and shadow: dont’s As a general guideline, try to avoid using staged lighting. It makes the photo work feel unnatural and the color temperature of man- made light sources of ten skew towards the cool end of the color temperature spectrum. Avoid unnaturally dark photos. The spotlight ef fect cre ates a sense of une asiness. Avoid por traits with too much contrast that cre ate an over tly dramatic ef fect . Avoid mixing various light sources. Multiple light sources cre ate multiple shadows and an unnatural feeling. Avoid unnatural or overly cool color temperatures.
6.6 Photography AI generated When photography assets are not available, DALL·E can be used as an alternative. Do use abstract compositions, or assets created in a non-photo realistic style. DALL·E is great at that . Use caution when using DALL·E to create photo realistic assets as they can appear unnatural to the human eye
7.1 7. 2 7.3 7.4 7.5 7.6 7.7 7.8 7.9 7.10 7.11 Introduction Grid lines and markers Spacing Primary colors Secondary colors Tertiarty colors Lines Bar and column charts Line charts Area charts Pie and donut charts Data visualization 7.0
7.1 Data visualization Introduction Data visualizations should employ principles of minimalism and reduction. A data visualization first and foremost has to accurately convey the data. It must not mislead or distort.
7. 2 Data visualization Grid lines and markers The following guidelines are intended for digital applications. All measurements are in pixels and distances are measured from text box edges in CSS to other text boxes or object edges. The grid is based on the large breakpoint and the body container width of 648 pixels. Line Weight Color 1px 1px 1px 1px 1px -- B order Grid Marker B ox Baseline Caption gray-900, 20% gray-900, 20% gray-900 gray-900 gray-900, 20% gray-900, 20 1 2 3 4 5 6 Bar char title single Subtitle goes here 00 00 00 00 00 00 L abel L abel L abel L abel L abel L abel L abel S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . Data label title Data set 1 Data set 2
7.3 Data visualization Spacing The recommendation is to place charts within a stroked area . This creates an anchoring mechanism to ensure charts feel grounded in the composition when surrounded by body copy. There should be 24px between the outer stroke of the chart and the interior contents. To ensure there is sufficient room to read labels and understand the charts, it is recommended that there be 32px between the lef t and right edges of the chart and any data visualization. Column char t title Subtitle goes here Data set 1 Data set 2 Data set 3 Data set 4 Data set 5 4 0 00 00 00 00 00 00 1 2 L abel L abel L abel L abel L abel L abel L abel S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . 3 2 3 2 Column char t title Subtitle goes here 8 Data set 1 4 8 Data set 2 4 8 Data set 3 4 8 Data set 4 4 8 Data set 5 00 00 00 00 00 4 00 4 L abel L abel L abel L abel L abel L abel L abel 4 0 S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . 2 4 2 4 2 4 2 4
7.3 Data visualization Spacing When using a bar chart , ensure that there is 24px of spacing between the right edge of the labels and the vertical data markers. Labels should be 4px from all vertical markers. To ensure legibility there must be a vertical minimum of 24px between the x-axis labels and y-axis labels. As designers use your discretion if more is needed. Bar char t title Subtitle goes here 3 2 00 00 00 00 00 00 00 L abel L abel L abel L abel L abel L abel L abel 2 4 m i n i m u m S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . Bar char t title Subtitle goes here 00 00 00 00 00 00 00 L abel L abel L abel L abel L abel L abel L abel S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . 2 4 4
7.4 Data visualization Primary colors The primary colors are the preferred way to represent data within a chart or graph. Red, green, and blue can be used as accent colors and are provided for scenarios where more contrast and depth is needed to highlight a specific data set . The accent colors can be used alongside of gray shades to represent multiple data points. red-700 green-600 blue-600 gray-900 gray- 800 gray-700 gray- 600 gray-500 gray- 400 gray-300 gray-200 gray-100
7.5 Data visualization Secondary colors Secondary colors can be used to supplement primary colors or for when more contrast is needed to adequetly represent the data . The primary colors are the preferred color system for most data visualizations. Try to use color sparingly. Too much color or colors with too little contrast confuses to reader and misrepresents the data you are trying to communicate. yellow-400 magenta-500 cyan-600
7.5 Data visualization Secondary colors Yellow shades and tints. Shades and tints have been provided for scenarios where more color depth is needed. yellow-900 yellow-800 yellow-400 yellow-200 yellow-100
7.5 Data visualization Secondary colors Megenta shades and tints magenta-900 magenta-900-800 magenta-500 magenta-200 magenta-100
7.5 Data visualization Secondary colors Cyan shades and tints cyan-900 cyan-800 cyan-600 cyan-200 cyan-100
7.6 Data visualization Tertiary colors Tertiary colors can be used to supplement primary and secondary colors when more contrast is needed to adequetly represent the data . The primary colors are the preferred color system for most data visualizations. orange-600 violet-700 brown-600
7.6 Data visualization Tertiary colors Orange shades and tints orange-900 orange-800 orange-600 orange-200 orange-100
7.6 Data visualization Tertiary colors Violet shades and tints violet-900 violet-800 violet-700 violet-200 violet-100
7.6 Data visualization Tertiary colors Brown shades and tints brown-900 brown-800 brown-600 brown-200 brown-100
7.7 Data visualization Lines Singular lines should be used when the goal of the visualization is to show an overall correlation of data and when individual values within the data are not important . Lines with markers can be used to show both overall correlation within the data and further highlight specific values within the data . Line stroke width should be 2px and the circular markers should be 8px on digital platforms. red-700 Lines Lines with markers green- 600 blue - 600 gray-900 gray- 600 gray- 400 yellow- 400 magenta-500 cyan- 600 orange - 600 violet-700 brown- 600
7.7 Data visualization Lines: with fill Area charts come in several varieties, including stacked area charts and overlapped area charts Stacked area charts show multiple time series (over the same time period) stacked on top of one anothe- Overlapped area charts show multiple time series (over the same time period) overlapping one another Line: red-700 / fill: red-700, 10% opacity Line: green- 600 / fill: green- 600, 10% opacity Line: blue - 600 / fill: blue - 600, 10% opacity Line:gray-900 / fill: gray-900, 10% opacity Line: gray- 600 / fill: gray- 600, 10% opacity Line: gray- 400 / fill: gray- 400, 10% opacity Line: yellow- 400 / fill: yellow- 400, 10% opacity Line: magenta-700 / fill: magenta-700, 10% opacity Line: cyan- 600 / fill: cyan- 600, 10% opacity Line: orange - 600 / fill: orange - 600, 10% opacity Line: violet-700 / fill: violet-700, 10% opacity Line: brown- 600 / fill: brown- 600, 10% opacity Lines with fill
7.8 Data visualization Bar and column charts A bar chart presents categorical data with rectangular bars with heights or lengths proportional to the values that they represent . The bars can be plotted vertically or horizontally. The column chart is a common variant of a bar chart , used to compare ordinal values. As a general rule, the width should be twice the width of the space between the bars. Bar char t title Subtitle goes here 00 00 00 00 00 00 00 L abel L abel L abel L abel L abel L abel L abel S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . Column char t title Subtitle goes here 00 00 00 00 00 00 L abel L abel L abel L abel L abel L abel L abel S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla .
7.8 Data visualization Bar and column charts (multiple bars) Alternating light and dark bars for bar charts makes it difficult to compare data . Shade bars from lightest to darkest to make comparison easier. Multiple Bar Char t Title Subtitle goes here 00 00 00 00 00 00 00 L abel L abel L abel S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . Data set 1 Data set 2 Data set 3 Data set 4 Multiple column char t title Subtitle goes here Data set 1 Data set 2 Data set 3 Data set 4 00 00 00 00 00 00 L abel L abel L abel S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla .
7.8 Data visualization Bar and column charts (stacked) Stacked bar charts are good for showing group relationships and value differences across more complex categories and subcategories. Stacked column charts can also be used to show group relationships within subsets of ordinal data . 00 00 00 00 00 00 00 L abel L abel L abel L abel L abel L abel L abel S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . Multiple Bar Char t Title (stacked) Subtitle goes here Data set 1 Data set 2 Data set 3 Data set 4 Data set 5 00 00 00 00 00 00 L abel L abel L abel L abel L abel L abel L abel S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . Multiple Column Char t Title Subtitle goes here Data set 1 Data set 2 Data set 3 Data set 4 Data set 5
7.9 Data visualization Line charts A line chart displays information as a series of data points called ‘markers’ connected by straight line segments. A line chart is of ten used to visualize a trend in data over intervals of time —a time series—thus the line is of ten drawn chronologically. Don’t use more than four lines on the same graph. Line char t title Subtitle goes here Data set 1 Data set 2 Data set 3 00 00 00 00 00 00 01 02 03 04 05 06 07 S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . Line char t title Subtitle goes here 00 00 00 00 00 00 01 02 03 04 05 06 07 S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . Data label title Data set 1 Data set 2
7.10 Data visualization Area charts An area chart or area graph displays graphically quantitative data . Area charts come in several varieties, including stacked area charts and overlapped area charts. Are a char t title Subtitle goes here 00 00 00 00 00 00 01 02 03 04 05 06 07 S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . S tacked Are a Char t Title Subtitle goes here Data set 1 Data set 2 Data set 3 Data set 4 Data set 5 00 00 00 00 00 00 01 02 03 04 05 06 07 S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla .
7.11 Data visualization Pie and Donut A pie chart is divided into slices to illustrate numerical proportion. In a pie chart , the arc length of each slice is proportional to the quantity it represents. A donut chartis a variant of the pie chart , with a blank center allowing for additional information about the data as a whole to be included. Donut charts provide a better data intensity ratio to standard pie chart . D onut char t title Subtitle goes here Data set 1 Data set 2 Data set 3 Data set 4 Data set 5 S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . Pie char t title Subtitle goes here Data set 1 Data set 2 Data set 3 Data set 4 Data set 5 S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla .
7.9 Data visualization Line charts: Inline labels Labels for line charts can also be placed adjacent to the relevant data sets. Be considerate when taking this approach as too many labels or charts with dense data can quickly feel cluttered, or worse, become illegible for a reader. As a general rule try to only include a maxium of 3 data sets when using inline labels. Alignment for the labels can either be above or below the data set . Use your best judgement based on where available space for the text may be. When showing a singular data set labels should be right-aligned to the edge of the chart . Line char t title Subtitle goes here 00 00 00 00 00 00 01 02 03 04 05 06 07 S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . Data set 1 Data set 2 Data set 3 Line char t title Subtitle goes here 00 00 00 00 00 00 01 02 03 04 05 06 07 S ource: Aliquam auctor nisi vitae quam tincidunt id auctor lorem fringilla . L abel