<sect1 id="identity-project-structure">

    <title>Corporate Structure</title>

    <para>

        &TC;; corporate structure is based on a &MCVIS;. In this

        configuration, one unique name and one unique visual style is

        used in all visual manifestation &TC;; is made of.

    </para>

    <para>

        In a monolithic corporate visual identity structure, internal

        and external stakeholders use to feel a strong sensation of

        uniformity, orientation, and identification with the

        organization. No matter if you are visiting web sites, using

        the distribution, or acting on social events, the one unique

        name and one unique visual style connects them all to say:

        Hey! we are all part of &TC;;.

    </para>

    <para>

        Other corporate structures for &TC;; have been considered as

        well. Such is the case of producing one different visual style

        for each major release of &TC;;. This structure isn't

        inconvenient at all, but some visual contradictions could be

        introduced if it isn't applied correctly and we need to be

        aware of it. To apply it correctly, we need to know what &TC;;

        is made of. 

    </para>

    <para>

        &TC;;, as organization, is mainly made of (but not limited to)

        three visual manifestions: &TC;;, &TC;; and &TC;;.  Inside

        &TC;; visual manifestations, &TC;; maintains near to four

        different major releases of &TC;;, parallely in time.

        However, inside &TC;; visual manifestations, the content is

        produced for no specific release information (e.g., there is

        no a complete web site for each major release of &TC;;

        individually, but one web site to cover them all).  Likewise,

        the content produced in &TC;; is industrially created for no

        specific release, but &TC;; in general.

    </para>

    <para>

        In order to produce the &TCPMCVIS; correctly, we need to

        concider all the visual manifestations &TC;; is made of, not

        just one of them.  If one different visual style is

        implemented for each major release of &TC;;, which one of

        those different visual styles would be used to cover the

        remaining visual manifestations &TC;; is made of (e.g., &TC;;

        and &TC;;)?

    </para>

    <para>

        Probably you are thinking: yes, I see your point, but &TC;;

        connects them all already, why would we need to join them up

        into the same visual style too, isn't it more work to do, and

        harder to maintain?

    </para>

    <para>

        Harder to maintain, more work to do, probably. Specially when

        you consider that &TC;; has proven stability and consistency

        through time and, that, certainly, didn't come through

        swinging magical wands or something but hardly working out to

        automate tasks and providing maintainance through time.  With

        that in mind, we consider &TCPCVIS; must be consequent with

        such stability and consistency tradition.  It is true that

        &TC;; does connect all the visual manifestations it is present

        on, but that connection is strengthened if one unique visual

        style backups it.  In fact, whatever thing you do to strength

        the visual connection among &TC;; visual manifestations would

        be very good in favor of &TC;; recognition.

    </para>

    <para>

        Obviously, having just one visual style in all visual

        manifestations for eternity would be a very boring thing and

        would give the idea of a visually dead project. So, there is

        no problem on creating a brand new visual style for each new

        major release of &TC;;, in order to refresh &TC;; visual

        style; the problem itself is in not propagating the brand new

        visual style created for the new release of &TC;; to all other

        visual manifestations &TC;; is made of, in a way &TC;; could

        be recognized no matter what visual manifestation be in front

        of us. Such lack of uniformity is what introduces the visual

        contradition we are precisely trying to solve by mean of

        themes production in &TCAR;.

    </para>

</sect1>