BMA Brand guide

BA L T I M O R E MUSEUM OF ART

Graphic Identity Standards and Guidelines

ANTHONY PETRILLO February 26, 2017

ELEMENTS OF THE IDENTITY SYSTEM LOGO

The Baltimore Museum of Art’s identity system consists of a logo and signature. The logo is only available in one, vertical version.

B AL TI MOR E

The Logo is the core

SIGNATURE

and typographic identifier

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expression of the identity of the institution.

B AL TI MOR E MUSEUM OF ART

The Signature is the full name of theinstitution.

The Signature can be used independently; however, the Logo should

LOCK-UP

be used in proximity.

A configuration that combines the Logo and Signature in a defined relationshipis referred to as a Lock-up. Each Lock-

B A LT I M OR E MUSEUM OF ART

up establishes a unique interaction of Logo and Signature (size, scale, and position of each element).

See the next page for the available “lock-ups” which combines the logo and the signature for use when the logo and signature will be combined in close proximity.

BMA IDENTITY GUIDELINES 1

ALTERNATE LOCK-UP ALTERNATE LOCK-UP

Each configuration that combines the logo and

BAL TIM O RE

signature in a defined

MUSEUM OF ART

relationship is referred to as a lock-up. The

BAL TI M OR E

preferred lock-up (see

MUSEUM OF ART

previous page) should be used whenever possible.

The alternate lock-up should only be used in special circumstances. ,

MUSEUM OF ART

BALTIMORE MUSEUM OF ART

MUSEUM OF ART

MUSEUM OF ART

B A LT IM O R E

BA L T I M O R E

B A L T IM O R E

Clearspace The area around the logo should always provide ample space so that the balance and wholeness of the logo are not violated by external elements. The diagram at the left shows the correct amount of space that should surround the lock-up.

BA L T I M O R E MUSEUM OF ART

BMA IDENTITY GUIDELINES 2

BALTIMORE MUSEUM OF ART

INTEGRITY OF THE LOGO & LOCK-UPS The Logo and Lock-ups,

BALTIMORE

BALTIMORE MUSEUM OF ART

MUSEUM OF ART

Only use the supplied files.

elements of the official brand of the BMA, should be used with the utmost consistency and integrity.

Never add a box or a shape to the Logo or Lock-ups.

Only the supplied Logo and Lock-up files should be used. The Logo and Lock-ups should never be tweaked, manipulated, used at sizes below minimum allowances,

B ALTI MO R E MUSEUM OF ART

rendered in colors other

B ALTI M ORE

than brand colors, etc.

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Do not scale the Logo or Lockups below the minimum

Never set the Logo or Lockups in a “non-identity” color.

allowable sizes.

BALTIMORE MUSEUM OF ART

Do not stretch or manipulate the Logo or Lock-ups.

BALTIMORE MUSEUM OF ART

Do not outline the Logo or Lock-ups.

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TI M O RE BABAL L TIM ORE MUSEUM OF ART MUSEUM OF ART

Do not typeset any part of the Logo or Lock-ups.

O RR T M I FA LT

B AS E U M O MU

Never rotate the Logo or Lock-ups.

B A L TIMO RE MUSEUM OF ART

BMA IDENTITY GUIDELINES 3

SCALING THE LOCK-UP The Logo file is provided at two scales: Small and

BALT I M O RE

Regular/Large.

MUSEUM OF ART

The Regular/Large Scale Logo is intended

2” wide

foruse on applications where the width of the Logo is greater than 1.50”.

This Regular/Large Scale Logo can be scaled up REGULAR / LARGE SCALE

B AL TI MOR E

The Regular/Large Scale

infinitely but should never be used smaller than 1.50” wide.

MUSEUM OF ART

Logo should be used when the Logo width is

The Small Scale Logo

1.75” wide

greater than 1.50”.

is intended for use on applications where the width of the Logo is less than or equal to 1.50”.

The letterforms and the lines of the logo have been modified for

B A L T I M O RE

reproduction at this small scale and can be

MUSEUM OF ART

used as small as .75”

1.50” wide

wide. This Small Scale Logo should never be used larger than 1.50” wide or smaller than .75” wide.

BALTI M ORE MUSEUM OF ART 1.25” wide

SMALL SCALE The Small Scale Logo should be used when the Logo width is between

B A L TIM O RE MUSEUM OF ART

.75” wide

1.50” and .75”. The Small Scale Logo should never be used smaller than .75” wide.

BMA IDENTITY GUIDELINES 4

COLORS Core Palette

MAIN BAND COLORS

The Color Palette of the BMA brand utilizes both a neutral palette.

#e9c9be

#928b95

The chosen colors reflect

CMYK 7/22/20/0 RGB 233/200/191

CMYK 45/42/32/2 RGB 147/139/150

specific works of art located in the museum and the Sculpture Garden, located on the outside grounds, The Lock-ups, Signatures or Logo may be reproduced in any of these colors.

SECONDARY COLOR PALETTE

In contexts where the #f2e7d7

#e86245

CMYK 16/20/33/0 RGB 242/232/216

CMYK 4/76/78/0 RGB 232/99/69

use of color is not an option (i.e. newspaper ad) the lock-up should be black (100% K) or white (0%).

NOTE: For web and other screen

#577333

#758f93

CMYK 67/35/100/21 RGB 88/116/52

CMYK 58/36/30/1 RGB 118/143/159

applications, the identity components should be rendered with a RGB value.

Due to inherent differences in the calibration of different monitors, these may need to be altered slightly. RGB values seen here should be used as references only.

LOGO COLOR WAY

B ALT IM O R E MUSEUM OF ART

BMA IDENTITY GUIDELINES 5

TYPOGRAPHY

The Baltimore Museum of Art is home to Montserrat Hairline

an internationally renowned collection of

Sans Serif/Signature: Montserrat The supporting typeface Montserrat is used in the

Montserrat Ultra Light

“Baltimore Museum of

of the 19th-century, modern, and

Art” signatures. It may

Montserrat Light

contemporary art. Founded in 1914 with a

be used as the default font for projects such as newsletters, forms,

Montserrat Regular

the Web site, and other

single painting, the BMA today has 95,000

collateral.

Montserrat Semibold

objects–including over 1,000 works by

Montserrat may be used in all publications and

Montserrat Bold

contexts where a sans

Henri Matisse, the largest public holding of

serif typeface is required.

Montserrat Extra Bold

his works in the world.

The font is intended to function as a contemporary voice of the BMA.

Montserrat Black

The Baltimore Museum of Art is home to an

Serif/Documents:

Crimson Regular

Crimson

internationally renowned collection of the 19th-century

Crimson may be used

Crimson Italic

modern, and contemporary art. Founded in 1914

in all publications and contexts where a serif typeface is required. The

Crimson Semibold

font should be used for

with a single painting, the BMA today has 95,000 objects

running text and for all

Crimson Semibold Italic

including over 1,000 works by Henri Matisse, the Crimson Bold

documents produced on BMA letterhead or using letterhead templates or logo mastheads.

largest public holding of his works in the world.

Crimson Bold Italic

BMA IDENTITY GUIDELINES 6