Blame Manuals/Tcar-ug/Identity/Project/structure.docbook

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<sect1 id="identity-project-structure">
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    <title>Corporate Structure</title>
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    <para>
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        &TC;; corporate structure is based on a &MCVIS;. In this
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        configuration, one unique name and one unique visual style is
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        used in all visual manifestation &TC;; is made of.
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    </para>
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    <para>
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        In a monolithic corporate visual identity structure, internal
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        and external stakeholders use to feel a strong sensation of
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        uniformity, orientation, and identification with the
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        organization. No matter if you are visiting web sites, using
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        the distribution, or acting on social events, the one unique
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        name and one unique visual style connects them all to say:
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        Hey! we are all part of &TC;;.
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    </para>
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    <para>
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        Other corporate structures for &TC;; have been considered as
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        well. Such is the case of producing one different visual style
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        for each major release of &TC;;. This structure isn't
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        inconvenient at all, but some visual contradictions could be
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        introduced if it isn't applied correctly and we need to be
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        aware of it. To apply it correctly, we need to know what &TC;;
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        is made of. 
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    </para>
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    <para>
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        &TC;;, as organization, is mainly made of (but not limited to)
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        three visual manifestions: &TC;;, &TC;; and &TC;;.  Inside
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        &TC;; visual manifestations, &TC;; maintains near to four
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        different major releases of &TC;;, parallely in time.
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        However, inside &TC;; visual manifestations, the content is
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        produced for no specific release information (e.g., there is
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        no a complete web site for each major release of &TC;;
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        individually, but one web site to cover them all).  Likewise,
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        the content produced in &TC;; is industrially created for no
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        specific release, but &TC;; in general.
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    </para>
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    <para>
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        In order to produce the &TCPMCVIS; correctly, we need to
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        concider all the visual manifestations &TC;; is made of, not
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        just one of them.  If one different visual style is
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        implemented for each major release of &TC;;, which one of
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        those different visual styles would be used to cover the
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        remaining visual manifestations &TC;; is made of (e.g., &TC;;
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        and &TC;;)?
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    </para>
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    <para>
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        Probably you are thinking: yes, I see your point, but &TCBRAND;
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        connects them all already, why would we need to join them up
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        into the same visual style too, isn't it more work to do, and
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        harder to maintain?
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    </para>
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    <para>
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        Harder to maintain, more work to do, probably. Specially when
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        you consider that &TC;; has proven stability and consistency
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        through time and, that, certainly, didn't come through
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        swinging magical wands or something but hardly working out to
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        automate tasks and providing maintainance through time.  With
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        that in mind, we consider &TCPCVIS; must be consequent with
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        such stability and consistency tradition.  It is true that
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        &TCBRAND; does connect all the visual manifestations it is present
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        on, but that connection is strengthened if one unique visual
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        style backups it.  In fact, whatever thing you do to strength
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        the visual connection among &TC;; visual manifestations would
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        be very good in favor of &TC;; recognition.
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    </para>
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    <para>
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        Obviously, having just one visual style in all visual
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        manifestations for eternity would be a very boring thing and
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        would give the idea of a visually dead project. So, there is
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        no problem on creating a brand new visual style for each new
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        major release of &TC;;, in order to refresh &TC;; visual
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        style; the problem itself is in not propagating the brand new
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        visual style created for the new release of &TC;; to all other
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        visual manifestations &TC;; is made of, in a way &TC;; could
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        be recognized no matter what visual manifestation be in front
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        of us. Such lack of uniformity is what introduces the visual
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        contradition we are precisely trying to solve by mean of
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        themes production in &TCAR;.
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    </para>
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</sect1>