Bashundhara Tissue Brand Guideline - 2023

The document provides guidelines for Bashundhara Tissue's brand identity and guidelines. It includes sections on organizational descriptors, vision, positioning, values, personality, and essence. It outlines the basic identity elements such as symbol, logotype, colors, and typefaces. It provides examples of applying the identity to materials like letterhead, business cards, reports, folders, and websites. consistent brand identity across communications.

1. BASHUNDHARA TISSUE
visual identity
guidelines

2. Table of
Contents
Brand Overview
Brand Positioning
Brand Tagline
Brand Vision
Brand Mission
Tone of Voice
Our Personality
Logo Variation
Color Pallete
Typoface
English Typoface
Bengali Typoface
Logo Usage
Logo Placement In Digital
Logo Placement In Production
Logo usage with Partners
Corporate Identity
Tissue Box Ratio
Print Guideline
Other placement of TV
Things to remember
01
02
03
04
05
06
07
08
09
10
11
14
15
18
23
25
26
30
31
34
35

3. Brand
Overview
Bashundhara Tissue, the pioneer Tissue Brand of
Bashundhara Paper Mills Ltd., was launched during
May 2000 amidst a situation where people of
Bangladesh were least conscious about personal
hygiene due to expensive available means or lack of
collective awareness. Bashundhara Tissue emerged
as a light of hope, gradually spanned throughout
every corner of Bangladesh – with its superior
absorbent & soft texture, affordability, availability
and not the least having specific message “Think
Hygiene, Live Safe”, very much inspired from its
parent Bashundhara Group’s motto “For the People,
For the Country”.
Today, Bashundhara Tissue is quite visible in every
nook & corner of Bangladesh, be it a small Tong
to luxury Department Store, thanks to its
nationwide distribution network of over 350
exclusive & dedicated distributors and relentless
production at enormous capacity world-class
facility plant.
Bashundhara Tissue has been communicated in
both ATL and BTL as the most caring Tissue brand in
Bangladesh, esp. in 2020 the brand has celebrated its
20 years of passionate journey of Love & Care. Apart
from various communication presences, Trade Scheme
(annual), CP offers, campaigns, targeted promotion
(regional & institutional) etc. run throughout the year
to give the most to its consumers as well as channel
partners. The vibrant & leading presence in the
domestic market has paved the brand to excel in the
International Arena, where currently the Tissue
products in the Bulk form are being exported across
continents, covering over 20 countries.
Like its present status, the future is also quite
beaming where the positioning of Bashundhara Tissue
has been projected as the most preferred Hygienic
Lifestyle brand in South-East Asia in next 5 years,
through the wider product line, attractive new style
packs and attachment with different social segments.
It all started with a commitment to provide hygienic
management of lifestyle, however, the
Bashundhara Tissue brand is still enthralled with its
same brand promise, to help Bangladesh live on a
hygienic and safe living.

4. Brand
Positioning
Brand
Architype
Our brand positioning is “Zero tolerance towards impurities”. At
Basundhara Tissue, we understand that hygiene is not just about
cleanliness but also about eliminating impurities that can cause
harm. We are in the business of providing hygiene, and our fight
is against dirt, spots, spilled water, unhygienic substances, and
anything that compromises cleanliness.
We believe that impurity is something that spoils other things
placed around it. It can be compared to corruption, betrayal, or
any sort of unwanted mixing. Even a small bit of impurity can cause
significant harm if left unchecked. That’s why Basundhara Tissue
supports no kind of impurity.
This brand positioning sets us apart from our competitors, as
we are deeply committed to ensuring the utmost purity in our
products. We understand that impurities require a forceful
response, and we have a zero-tolerance approach to anything that
compromises hygiene. Our dedication to eliminating impurities
safeguards our customers well-being and prevents any harm that
impurities may cause.
At Basundhara Tissue, we strive to provide the best tissue products
in the market, offering a clean and hygienic solution for various
purposes. With “Zero tolerance towards impurities”, we aim to
exceed our customer’s expectations and deliver a brand that stands
for purity, trustworthiness, and exceptional quality.
Basundhara Tissue embraces the Hero Archetype,
embodying the qualities of a triumphant figure
in its brand narrative. With a relentless quest for
purity, the brand emerges as a saviour against
impurities, safeguarding its customers from harm.
Its unwavering commitment to excellence sets
Basundhara Tissue apart, striving for perfection
through natural and organic materials, rigorous
testing, and adherence to the highest standards
of hygiene. By differentiating itself from
competitors, Basundhara Tissue stands tall as a
heroic choice, exemplifying trustworthiness and
reliability. Empowering its customers, the brand
becomes a guiding companion, empowering
them to handle their hygiene needs confidently.
As the Hero Archetype, Basundhara Tissue
delivers a clean, protective, and empowering
experience, embodying the spirit of a true hero.

5. Brand
Tagline
Our brand tagline is - Think Hygiene, Live Safe. This tagline reflects our
vision of providing high-quality tissue products that help our customers
maintain a clean and healthy lifestyle. Tissue is not just a paper product,
it is a tool for hygiene and safety. Whether you need to wipe your nose,
clean your hands, or sanitize a surface, tissue can help you prevent the
spread of germs and diseases. Tissue is also soft and gentle on your skin,
making it comfortable and convenient to use. Our tissue products are
made from natural and sustainable materials, ensuring that we care for the
environment as well as our customers. By choosing our tissue products,
you are choosing to “Think Hygiene and Live Safe”.
THINK HYGIENE
LIVE SAFE

6. Brand
Vision
At Bashundhara Paper Mills, we are dedicated to creating high-quality paper products that meet
the needs of our customers around the world. We are committed to sustainability and innovation
in everything we do, and we take pride in our long history of providing exceptional products and
services to our customers.
Our founder Ahmed Akbar Sobhan was a visionary entrepreneur who built our company on the
principles of hard work, innovation, and dedication to customer satisfaction. Today, his son Safwan
Sobhan Tasvir continues this legacy by focusing on research and development, staff training, and
sustainable manufacturing practices. Under his leadership, we have made great strides in
improving our environmental impact, including implementing zero-discharge practices and
closed-loop machines.
Our commitment to sustainability and innovation has earned us a reputation as a leader in our
industry. We look forward to continuing to serve our customers and community with high-quality,
sustainable products that meet the highest standards of quality and excellence.
In addition to its commitment to sustainability, Bashundhara Tissue also places a strong emphasis
on research and development and staff training to continuously improve the quality of its products
and operations. The company’s dedication to excellence has earned it a reputation as a trusted and
reliable provider of paper-based products in Bangladesh and beyond.
In 2003, we started to export our products to Nepal & India. Now we are the only Tissue Brand in the
country that is being exported to over 50 countries. Looking to the future, Bashundhara Tissue aims
to further expand its presence in the global paper and tissue market through a wider product line,
attractive packaging, and strategic partnerships with different social segments. We have already
signed a contract with world-renowned technology providers for a 2,000 MTD Board Mills and is
poised to play a major role in meeting the growing demand for paper products while maintaining
its commitment to sustainability and quality.

7. Brand
Mission
Our mission is to make a positive impact on the lives of the people in Bangladesh by providing affordable
and quality tissue paper products that promote a hygienic lifestyle. Our commitment to community,
sustainability, social responsibility, and integrity is at the core of everything we do.
Our company’s work culture reflects their brand ethos and is based on the principles of “SPIRIT” -
Supportive, Passionate, Integrity, Responsible, Ingenuity, and Togetherness. This work culture has helped us
establish a reputation as a trusted and reliable brand in Bangladesh.
We established the Bashundhara Special Children Foundation, a non-profit charity foundation that
supports intellectually disabled students by helping them explore their potential abilities to become
productive members of society.
We are committed to maintaining the highest quality standards and has received several awards and
certifications, including the Best Brand Award in Bangladesh for five consecutive years from 2018 to 2022.
We are the first and only tissue paper manufacturer in Bangladesh with FSC-CoC certification and the
first-ever tissue paper brand in the country to be certified with the BSTI seal.
Overall, our mission is centred around making a positive impact on society by promoting a more
hygienic lifestyle, giving back to the community, and maintaining the highest quality standards. Our motto
at Bashundhara group is “For the People, For the Country” encapsulates our commitment to improving the
lives of the people of Bangladesh.

8. Tone of
Voice
Our brand tonality is warm, friendly, and approachable. We want our customers to feel like they’re part
of the Bashundhara Tissue family, and that they can always count on us for reliable and trustworthy
tissue products.
Caring
We care about the hygiene and well-being of our customers and the community at large. We are
committed to provide affordable, high-quality tissue products that promote a more hygienic lifestyle
and contribute to a healthier society.
Innovative
We constantly pushing the boundaries of tissue technology and developing new and innovative
products that meet the evolving needs of our customers. Our R&D team is committed to improving
the performance and usability of our products and staying ahead of the competition.
Trustworthy
We are a reliable and trusted brand that has been serving the Bangladeshi market for over 20 years.
Our products are of the highest quality, and our brand is committed to maintaining strict standards of
process excellence and environmental sustainability.
Responsible
We are a socially responsible brand that is committed to making a positive impact on the community
and the environment. Our core values of community, sustainability, and social responsibility are
reflected in our business practices and its support for charitable causes.

9. Our
Personality
Bashundhara Tissue’s brand personality can be described as affordable, innovative,
hygienic, responsible, and community-oriented.
Affordable
We have a strong focus on making tissue paper affordable and accessible to the masses,
which reflects its down-to-earth personality.
Innovative
Bashundhara Tissue is known for its innovative products and continuous R&D efforts to
improve its offerings, which portrays the brand as dynamic and forward-thinking.
Hygienic
Our motto “Think Hygiene, Live Safe” reflects its commitment to promoting a hygienic
lifestyle, which portrays that we are reliable and trustworthy.
Responsible
Bashundhara Tissue is the only tissue manufacturing company in Bangladesh with ISO
and FSC-CoC certifications, reflecting its commitment to responsible manufacturing
practices, which portrays the brand as socially responsible.
Community-oriented
Our core values revolve around community, and it has dedicated a portion of its sales to
the development of a non-profit foundation for intellectually disabled students, which
portrays the brand as caring and compassionate.

10. Logo
Variation
Logo with Payoff line
The logo of Bashundhara Tissue has been designed in
both Bangla and English languages. In addition, for various
significant layouts, such as packaging, where multiple
logos are required and effective communication is
essential, we can utilize both versions of the logo.
Primarily when communicating in Bangla, we will use the
Bangla version of the logo, and in English communication,
we will use the English version of the logo.

11. Color
Pallete
Primary ColorSecondary Color Reverse Color
#ed1c24
RGB 237, 28, 36
CMYK 0, 99, 97, 0
#bcbec0
RGB 188, 190, 192
CMYK 0, 0, 0, 30
#636466
RGB 99, 100, 102
CMYK 0, 0, 0, 75
#ffffff
RGB 255, 255, 255
CMYK 0, 0, 0, 0
#bcbec0
RGB 188, 190, 192
CMYK 0, 0, 0, 30

12. Type is
Beautiful and it matters
Type is more than a design element. It
articulates our message, expressing both
what we say and how we say it. Modern,
easy to read, and humanist, the Segoe type
family for English and Hind shiliguri is
closely aligned with the Bashundhara Tissue brand
personality. We use it within products and in
communications across brands.
Segoe and Hind shiliguri is straightforward,
allowing our messages—from the enthusiastic to
the practical—to be easily understood.

13. English
Typo
Use Segoe
Keep it simple
Limit type sizes
Use sentence case
Primary Font
Segoe UI Variable
is our type family
We use Segoe, a completely custom type family
created for Microsoft that has become a
longstanding core element of our visual identity.

Segoe Pro is the brand font used for print and
graphic executions. Segoe UI is the Windows OS
font, and the font that is used for on-screen and
digital executions.
Secondary Font
Freestyle Script
Segoe UI Variable - Light
THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG
The quick brown fox jumps over the lazy dog
1234567890@#$%*
Segoe UI Variable - Regular
THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG
The quick brown fox jumps over the lazy dog
1234567890@#$%*
Segoe UI Variable - Semibold Text
THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG
The quick brown fox jumps over the lazy dog
1234567890@#$%*
Segoe UI Variable - Bold Text
THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG
The quick brown fox jumps over the lazy dog
1234567890@#$%*
The quick brown fox jumps over the lazy dog

14. • Limit type to no more than three sizes.
• Use Light for large headlines.
• Use Regular or Semibold for increased
legibility at small sizes or over
backgrounds.
• Use Semibold or Bold for subheads, but
not for headlines.
• Segoe Black or Condensed weights should
be used sparingly
• Line spacing refers to the space between
lines of type. See the chart at right for line
spacing guidelines.
• Sentence case is our standard for all
communications.
• Use all-uppercase sparingly—for titles,
short headings, or subheadings, and never
for full paragraphs.
• Do not use all-lowercase type.
Body Text (<8 ˷ 14pt)
subhead Text (<14 ˷ 36pt)
Body Text (36 ˷ 72pt)
120% (minimum)
110% (minimum)
120% (minimum)
0
-15
-15
Type
Size & Weight
Leading Tracking

15. Don’t add drop shadows to type
Avoid widows (words by themselves on a
line) shorter than 7 characters.
Don’t stretch type horizontally or vertically.
Avoid loose line spacing measures.
Don’t leave orphans in your text. (An orphan is a lone word at
the top of a page or column—the last word in a sentence
carried over from the prior text block.)
Don’t kern text too tightly or loosely
Don’t use more than 1 or 2 type styles in
close proximity, and try to follow the rule
of 3 type sizes per page layout.
Typo
Not to use
This typo with a shadow
Don’t Leave widows in
text
This type is stretched.
The line spacing on
this text is 200%.
This two-column orphan.
layout leaves an
This text is kerned at
negative 100
Too Many
TYPE styles
Don’t use more than two colors in a single
text grouping.
Too many
colors in one
text area
Avoid hyphenation in general, and
especially in headlines.
This headline is hy-
phenated.

16. Hind Shiliguri
Keep it simple, Limit type sizes
Use sentence case
Primary Font
Hind Shiliguri
is our type family
We use Hind Shiliguri, a popular type
family that has become a longstand-
ing core element of our visual iden-
tity.
Hind Shiliguri is the brand font used
for print and graphic executions. Hind
Shiliguri is the Windows OS font, and
the font that is used for on-screen
and digital executions.
Secondary Font
Li Ador Shurobhi Unicode
1234567890@#$%*
েযভােব ফ� ব্যবহার করা �ক হেব
Hind Siliguri Bold
1234567890@#$%*
েযভােব ফ� ব্যবহার করা �ক হেব
Hind Siliguri Semibold
1234567890@#$%*
েযভােব ফ� ব্যবহার করা �ক হেব
Hind Siliguri Medium
1234567890@#$%*
েযভােব ফ� ব্যবহার করা �ক হেব
Hind Siliguri Regular
1234567890@#$%*
েযভােব ফ� ব্যবহার করা �ক হেব
Hind Siliguri Light
বাংলা
টাইেপা�ািফ
েসেকন্ডাির বাংলা ফন্ট ব্যবহার
সােথ ভীষণ �ং!
দার�ণ েশাষণ�ম

17. Let the Logo
breath
Clear space
We respect the logo by giving it some space.
The minimum clear space that must surround
the logo is equivalent to the height of its
capital BA (ব).
Minimum size
In print, the logo should never appear
smaller than 1” (25 mm). On-screen, it must
appear at least 70 pixels wide.
Registration marks
In marketing, registration marks on the logo
are no longer necessary, except in consumer
packaging applications.
Clear space
Minimum size
On-screen: 70 px
Print: 1” (25 mm)

18. Background
Variations
Use the full-color logo. Use the positive
version (logotype in white) on Red backgrounds.
The full-color reverse logo may be used on white
color backgrounds, as well as dark and light
areas within photographs.

19. Logo
Not to use
Do not use logo without stroke on insufficient
contrast, similar, image or gradient.
Don’t stretch or compress the logo. Don’t place the logo over busy
photographic backgrounds.
Don’t add extra color or don’t fade
the logo
Do not add effects like shadows,
dimensions, and gradients to the logo
Don’t create logo “lockups” by adding
text in close proximity to the logo.
Partner Program

20. Logo Placement
In Digital
When it comes to digital templates, the logo can
be positioned in four different areas, as showed
in the accompanying image. Nevertheless, the
preferred and primary location for the logo is the
top right corner. If the creative design requires
an alternative placement, then other variations
can be explored. However, it’s advisable to
adhere to the primary choice of placing the logo
at the top right corner.
As illustrated in the image, it is crucial to check
the breathing space of the logo during its
placement. The minimum required space should
be equal to the width of the first letter of the
logo.
150 px277 px
30 px
37 px

21. Logo Placement
In Digital
Other Solid Color or imagesRegular Color

22. Group Logo
Placement
In Digital
When using a group logo, it is advisable to utilize both square and vertical versions
based on the context. The square logo should have a length of 125 pixels, while
the vertical logo should be 315 pixels long. To maximize the design, it is
recommended to incorporate visual content in the empty space on the right side,
while keeping copy, supers, or communication elements in the top left corner.
105 px
300 px
50 px 50 px
50 px 50 px

23. 1080 x 1080 pixel Layout grids
Using
Tile

24. Logo Placement
In Digital
Use the full-color logo. Use the positive version
(logotype in white) on Red backgrounds. The
full-color reverse logo may be used on white
color backgrounds, as well as dark and light
areas within photographs.
300×600
728×90
970×250 300×250
160×600
66.5 px
12 px
27.5 px
18.5 px
122 px195 px
82 px
90.5 px 60.6 px
20 px
20 px

25. Logo Placement
In Production
Use the full-color logo. After 3 sec Start logo in production
with simple medium pace fade in effect.
• Use logo W-270 pixels in 1920 x 1080 aspect ratio and
leave BA (ব) area as per logo using instruction. This
area is devided by 7 in width.
• Primary space for logo is top left. For tvc we will use
our logo by following bellow treatment with maintain-
ing specific television logo.
1080 x 1350 pixels, for facebook1080 x 1920 pixels, for story, rels, short
326 px 326 px
460.5 px 460.5 px
70 px
70 px
70 px 70 px

26. Logo Placement
In Production
Use the full-color logo. After 3 sec Start logo in production
with simple medium pace fade in effect.
• Use logo W-270 pixels in 1920 x 1080 aspect ratio and
leave BA (ব) area as per logo using instruction. This
area is devided by 7 in width.
• Primary space for logo is top left. For tvc we will use our
logo by following bellow treatment with maintaining
specific television logo.
With Black Aspect ratio area 1920 x 1080 pixels
Top left Top Right
without Black Aspect ratio area 1920 x 1080 pixels
1
1
2
2
3
3
4
4
5
5
6
6
7
7
11 22 33 44 55 66 77
273.5 px
46 px
210 px
210 px

27. Logo
with Partners
Primary Secondary
When Bashundhara collaborates with another company,
its logo can be used in two ways. If Bashundhara holds the
majority share or initiated the partnership, then the first
logo to be displayed would be Bashundhara Tissue and the
second logo in the right side will be the partner’s logo. A
thin stroke should separate the two logos, and the space
between them should be equal to the width of the first
letter of the Bashundhara logo.
Similarly, if Bashundhara holds a lower priority in the
partnership, then its logo should be displayed on the
right side, following the same guidelines for spacing and
separation between the logos.

28. Corporate
Identity PERSONS NAME
Designation
BIHQ - 2, Plot-56/A, Block-C, Bashundhara
R/A, Dhaka, Bangladesh
012 345 678 91, +02 0123 456
[email protected]
BIHQ - 2, Plot-56/A, Block-C, Bashundhara, R/A, Dhaka, Bangladesh
012 345 678 91, +02 0123 456, [email protected]
Business Card Letterhead
While developing a corporate identity,
the placement of the logo may deviate
from the standard guidelines. However, it
is highly recommended to adhere to the
brand identity development principles by
using a white background that will
enhance the prominence of the logo and
enable the font colors to be black. This
approach ensures consistency in the
presentation of the brand philosophy.

29. Shop Sign
Branding
ABC Enterprise
Shop # 1, 123 Tower, Road # 123
Bashundhara, Dhaka.
The branding for a retailer or shop sign requires
the base color to be red and the concept should be
designed around this color. The Basundhara Tissue logo
should be placed on the right side in white stroke. The
signage should have the shop name and details on
the left, the main communication and products in the
center, and the logo on the right. The primary goal
is to create a clean, bold presentation that effectively
conveys the brand message.

30. Stationary
Usage
The image provided for the stationary items may not
be an exact representation of what is desired, but
the primary goal is to create stationary items that
incorporate the brand’s signature colors of red and
white. The emphasis should be placed on prioritizing
these colors in the design process. The example shown
is intended only as a reference.

32. Tissue Box
Ratio
We maintain a strict adherence to the
packaging size and logo placement ratio.
Below, we have provided a precise layout in
millimetres.

230 mm
115 mm
75 mm
47 mm
60 mm
45.3 mm
125.5 mm
8.6mm
10.4mm
47 mm
43 mm

230 mm
115 mm
75 mm
47 mm
60 mm
45.3 mm
125.5 mm
8.6mm
10.4mm
47 mm
43 mm

33. Press Ad
Placement
For newspaper advertisements,
there are multiple sizes available for
placement. However, we have
provided a set of guidelines for
commonly used ad placements. By
following these guidelines for key
visuals, logo placement, copywriting,
certification, and QR codes, we can
ensure smooth adaptation to other
sizes without encountering any issues.
Newspaper
Full Page 13in x 20in
1in x 1in
2.45in3.5in
KEY
VISUAL
Half Page 13in x 10in
1in x 1in
1.6in
3in
Newspaper
KEY
VISUAL
TITLE GOES HERE
I chose not to visit my grand-
parent’s house until I was
accepted for the scholarship.
The last time I had visited him
he asked me to provide an ac-
count of the money that I had
taken for my hostel expenses. I
provided him with a list of ac-
counts that included ten takas
worth of grapes. Seeing this,
my grandfather wanted to beat
me. He viewed my purchase as
a huge waste of money. I fled
the house and vowed never
to return. My parents were
far away to the South, in Pat-
uakhali. They were ignorant,
perhaps willfully, of the abuse
I was enduring at the hands of
mstel life at Home Economics
College in Dhaka, and missed
my parents terribly. During
the day I busied myself with
studies the best I could, but
at night the thought of my
mother made me homesick.
Bewildered and sad, unable
to sleep, I would sob in my bed
for her night after night at the
hostel. My roommate, a senior
girl, half-asleep herself, would
console me when my crying
woke her at night. My home-
sickness was such that I even
approached one American
teacher and asked her if she
would be my mother as she
bore a passing resemblance
to her, leaving her speechless.
Apparently she kept her word,
as a few weeks following my
visit to the principal’s office,
I was called before the schol-
arship board. I faced twelve
men across a huge oval table.
When they asked me why I
had managed.
I chose not to visit my grand-
parent’s house until I was
accepted for the scholarship.
The last time I had visited him
he asked me to provide an ac-
count of the money that I had
taken for my hostel expenses. I
provided him with a list of ac-
counts that included ten takas
worth of grapes. Seeing this,
my grandfather wanted to beat
me. He viewed my purchase as
a huge waste of money. I fled
the house and vowed never
to return. My parents were
far away to the South, in Pat-
uakhali. They were ignorant,
perhaps willfully, of thife at
Home Economics College in
Dhaka, and missed my par-
ents terribly. During the day I
busied myself with studies the
best I could, but at night the
thought of my mother made
me homesick. Bewildered and
sad, unable to sleep, I would
sob in my bed for her night
after night at the hostel. My
roommate, a senior girl, half-
asleep herself, would console
me when my crying woke her
at night. My homesickness was
such that I even approached
one American teacher and
asked her if she would be my
mother as she bore a passing
resemblance to her, leaving her
speechless.
Apparently she kept her word,
as a few weeks following my
visit to the principal’s office, I
was called before the scholar-
ship board. I faced twelve men
across a huge oval table. When
they asked me why I had man-
aged only a Second Division
result in my.
I chose not to visit my grand-
parent’s house until I was
accepted for the scholarship.
The last time I had visited him
he asked me to provide an ac-
count of the money that I had
taken for my hostel expenses. I
provided him with a list of ac-
counts that included ten takas
worth of grapes. Seeing this,
my grandfather wanted to beat
me. He viewed my purchase as
a huge waste of money. I fled
the house and vowed never
to return. My parents were
far away to the South, in Pat-
uakhali. They were ignorant,
perhaps willfully, of the abuse
I was enduring at the hands
of my grandparents, perhaps
even relieved that I was under
their surveillance.
Another reason I wanted to
escape to Lahore was because I
hated hostel life at Home Eco-
nomics College in Dhaka, and
missed my parents terribly.
During the day I busied myself
with studies the best I could,
but at night the thought of my
mother made me homesick.
Bewildered and sad, unable
to sleep, I would sob in my bed
for her night after night at the
hostel. My roommate, a senior
girl, half-asleep herself, would
console me when my crying
woke her at night. My home-
sickness was such that I even
approached one American
teacher and asked her if she
would be my mother as she
bore a passing resemblance
to her, leaving her speechless.
Apparently she kept her word,
as a few weeks following.
I chose not to visit my grand-
parent’s house until I was
accepted for the scholarship.
The last time I had visited him
he asked me to provide an ac-
count of the money that I had
taken for my hostel expenses. I
provided him with a list of ac-
counts that included ten takas
worth of grapes. Seeing this,
my grandfather wanted to beat
me. He viewed my purchase
as a huge waste of money.
I fled the house and vowed
never to return. My parents
were far away to the South,
in Patuakhali. They were
ignorant, perhaps willfully, of
the because I hated hostel life
at Home Economics College
in Dhaka, and missed my par-
ents terribly. During the day I
busied myself with studies the
best I could, but at night the
thought of my mother made
me homesick. Bewildered and
sad, unable to sleep, I would
sob in my bed for her night
after night at the hostel. My
roommate, a senior girl, half-
asleep herself, would console
me when my crying woke her
at night. My homesickness was
such that I even approached
one American teacher and
asked her if she would be my
mother as she bore a passing
resemblance to her, leaving her
speechless.
Apparently she kept her word,
as a few weeks following my
visit to the principal’s office, I
was called before the scholar-
ship board. I faced twelve men
across a huge oval table. When
they asked me why I had man-
aged only a Second .
I chose not to visit my grand-
parent’s house until I was
accepted for the scholarship.
The last time I had visited him
he asked me to provide an ac-
count of the money that I had
taken for my hostel expenses.
I provided him with a list of
accounts that included ten
takas worth of grapes. Seeing
this, my grandfather wanted
to beat nt, perhaps willfully,
of the abuse I was enduring at
the hands of my grandparents,
perhaps even relieved that I
was under their surveillance.
Another reason I wanted to
escape to Lahore was because I
hated hostel life at Home Eco-
nomics College in Dhaka, and
missed my parents terribly.
During the day I busied myself
with studies the best I could,
but at night the thought of my
mother made me homesick.
Bewildered and sad, unable
to sleep, I would sob in my bed
for her night after night at the
hostel. My roommate, a senior
girl, half-asleep herself, would
console me when my crying
woke her at night. My home-
sickness was such that I even
approached one American
teacher and asked her if she
would be my mother as she
bore a passing resemblance
to her, leaving her speechless.
Apparently she kept her word,
as a few weeks following my
visit to the principal’s office, I
was called before the scholar-
ship board. I faced twelve men
across a huge oval table. When
they asked me why I had man-
aged only.
I chose not to visit my grand-
parent’s house until I was
accepted for the scholarship.
The last time I had visited him
he asked me to provide an ac-
count of the money that I had
taken for my hostel expenses. I
provided him with a list of ac-
counts that included ten takas
worth of grapes. Seeing this,
my grandfather wanted to beat
me. He viewed my purchase as
a huge waste of money. I fled
the house and vowed never
to return. My parents were
far away to the South, in Pat-
uakhali. They were ignorant,
perhafe at Home Economics
College in Dhaka, and missed
my parents terribly. During
the day I busied myself with
studies the best I could, but
at night the thought of my
mother made me homesick.
Bewildered and sad, unable
to sleep, I would sob in my bed
for her night after night at the
hostel. My roommate, a senior
girl, half-asleep herself, would
console me when my crying
woke her at night. My home-
sickness was such that I even
approached one American
teacher and asked her if she
would be my mother as she
bore a passing resemblance
to her, leaving her speechless.
Apparently she kept her word,
as a few weeks following my
visit to the principal’s office,
I was called before the schol-
arship board. I faced twelve
men across a huge oval table.
When they asked me why I
had managed only a Second
Division result in my matric-
ulation I told.
70 px

34. Magazine
Placement
When placing an advertisement in magazines, there are typically three
sizes to choose from: landscape or portrait full-page ads, as well as
half-page ads. We have provided two size references for magazine ads to
ensure adherence to the brand guidelines. By following these guidelines
for key visuals, logo placement, copywriting, certification, and QR codes,
we can ensure seamless adaptation to other sizes without encountering
any issues.
Magazine ad verticle 11.2in x 8.5in
Magazine ad verticle 8.5in x 11.2in
1in x 1in
1.35in
2.5in
KEY
VISUAL
1in x 1in
2.5in
1.35in
KEY
VISUAL

35. Billboard
Placement
When it comes to billboard placement, it is crucial to
consider that billboards are typically viewed from a
distance. Due to this, it is important to prioritize visibility
of the message and brand assets over small details. To
ensure optimal impact, we have established guidelines
that guarantee legibility and visibility of the message and
brand assets from a distance.
Ratio 16 : 9
KEY VISUAL
GOES HERE
CAMP AIGN
TITLE GOES
HERE
250px
1 2 3 4
5

36. TV SCREEN
Placement
For TV screen placement, it is essential to consider the TV screen size,
logo placement, and screen guidelines for L-shaped ads. We have
provided a common guideline below to present Bashundhara effectively
on TV screens. By following this guideline, we can ensure proper
positioning and presentation of the brand on TV screens.
L shape V1 L shape V2
207px
246px
323px

37. Things to
Remember
01 Always use correct logo artwork
02 Never modify or recreate the logo
03 Maintain proper exclusion zone while using logo
04 Always use Brand fonts
05 Always use Brand colour palette
06 When in doubt, ask branding team
Unfortunately, these rules are not flexible

38. Thank you