The logo is the visual ambassador of our brand and therefore the most important element in terms of brand recognition. There are four different color versions of our logo as well as a smaller version for particularly small media. The logo must not be altered or redesigned, neither as a whole nor in parts.
The protected area is the space around the logo in which neither text nor other graphic elements may be positioned.
The extent of the protected area is derived from the height of the letter ‘b’ in the figurative mark.
The logo can be positioned in different spots, but may not be changed.
Whenever possible, the Robert Bosch Stiftung logo should be placed in the upper right or left corner. The logo’s protected area helps define the logo’s positioning.
Indication of support
For external projects supported by the Foundation, the logo should include the addition ‘supported by,’ if possible, and be placed under the term ‘Supporter’ (not sponsor or the like). Font, size and exact position are at the discretion of the designer and should be adapted to the respective work.
Examples for illustrative use of the figurative mark
- The logo must not be placed too close to the edge of a format or viewport.
- The logo must not be set vertically.
- The logo must not be too large for the format.
The Robert Bosch Stiftung's color scheme is as vibrant as the Foundation itself. A variety of primary and secondary colors create a lively appearance with positive tension.
Primary colors of the Robert Bosch Stiftung
The Robert Bosch Stiftung uses its own corporate fonts, Bosch Serif and Bosch Sans. They are important elements when it comes to the brand’s effect and visualize the Foundation’s relationship to the company of the same name.
If required, you can request the corporate fonts, Bosch Serif and Bosch Sans, from the contacts for the CD Portal.
Icons are means of communication. Contrary to the written word, icons convey their message non-verbally and thus help the observer to gain orientation quickly as well as language-independently. Together with other design elements, they vitalize and structure the corporate design of the Robert Bosch Stiftung.
Overview of support area icons
Areas of application for system icons
Design principle: Areas
The interplay of the brand-defining basic design principle
Loud and quiet
Nobody has to be loud all the time in order to be heard. The Robert Bosch Stiftung’s corporate design can do both, loud and flashy or quiet and restrained. This way, both young and mature target groups can be reached.
Creative range from quiet, serious layouts to loud, image-focused, colorful layouts
The visual style of the Robert Bosch Stiftung is deliberately diverse in order to do justice to the Foundation’s broad range of activities. The focus is on authentic situations and/or people who appear approachable. Our images tell real stories and allow viewers to immerse themselves in these, whether from far away or close up. Charming,
In short, images for the Foundation are authentic, fresh, open, and touching.
The visual world of the Robert Bosch Stiftung
Elements for a brand-shaping and independent visual language
No gestures and facial expressions that appear staged; no extreme lighting or flat, low-contrast images.
No cropping of staged moments, no desaturated images, no unfavorable snapshots.
No incorrect behavior, personal or confidential details, or stereotyping: Pay attention to gender diversity in small groups.
Briefings for photographers
It is important to plan a photo shoot by providing a specific briefing to the photographer. This ensures that the created images correspond to the visual language of the Robert Bosch Stiftung and will later fit harmoniously into the overall presentation of the corporate design.
Diagrams and charts
Successful diagrams and charts give viewers an easy understanding of areas of expertise that would otherwise only be accessible by studying large numbers of datasets. Infographics shed light on complex facts and correlations.
At the Robert Bosch Stiftung, diagrams and charts can be created in one of three visual styles, each with its specific level of detail.
Examples of use Category 1
Examples of use Category 2
Examples of use Category 3