TABLE OF CONTENTS
WEB & SOCIAL
The Egyptian theater is a 520-seat single-screen movie theater on Pine and Broadway built in 1915 as a Masonic temple. In 1980 Dan Ireland and Darryl McDonald turned it into a movie theater and added the Egyptian theme, following a tradition of Egyptianthemed theaters in the US. In 1989 Landmark Theatres began renting the theater, occupying it for 24 years. Seattle Central Community College bought the building in 1992 and continued renting it to Landmark until 2014 when SIFF took over the lease. SIFF continues to use the theater to show Independent films throughout the year, as well as hosting events and screenings during the Film Festival.
Based in Seattle’s Capitol Hill neighborhood, the Egyptian preserves the area’s historic legacy of arts & culture by screening films and hosting local events in a classic, local atmosphere.
OFFER Curated Films Local Events Concessions Surround Sound Memberships 3rd Largest Screen in Seattle
ASSETS Capitol Hill Location Historic Building SIFF Affiliation
APPROACH Unique Environment Friendly Staff Curated Film Selection Casual Atmosphere Affordable Prices Nostalgic Ambience Films Not Shown at Other Theaters in Town Early Showing of Films
For Seattleites, the Egyptian is the venue that offers local events and screenings of curated films before they show at other theaters, in an historic building with a casual, friendly atmosphere.
We believe in celebrating the art of film, thatâ€™s why we offer a curated selection of films not always shown at other local theaters, presented by a friendly staff in a unique historic building in Capitol Hill.
Iconic Nostalgic Reliable
Independent Artsy Challenging
Special Romantic Relaxed
We are a Rebellious Icon. Our brand has two sides: the alternative side, and the enduring side. The Rebellious Icon is visualized through black and white photography, large color overlays, handdone elements, skewed shapes and bold sans-serif typography combined with hand-lettering.
The logo is iconic because it looks like a pyramid, and rebellious because the pyramid is also a funky â€œe.â€? It uses a stable triagular shape with a modified wordmark. The logo needs room to breathe; keep space around it, roughly the height of the capital E from the wordmark. The logo should only be in black or white, depending on the color behind it.
When we use the logo, we want our customers to be able to see it! If the logo is going to be smaller than an inch, use the small-use version, which has more tracking in the name and more space between the logo and wordmark. If itâ€™s going to be .5â€“.25 inches, use the icon only. Never make it smaller than .25 inch.
1 in. .5 in.
Logo & Wordmark
Our logo is iconic and should be treated with respect. The logo should not be a color other than black or white, should not be skewed, altered or turned. It should not be placed over photographs or busy backgrounds and should never have a texture or drop shadow.
EGYPTIAN DON’T: change color
DON’T: turn sideways/angle
DON’T: change arrangement
DON’T: replace typeface
DON’T: stretch, add texture treatments or drop shadows
DON’T: place over busy backgrounds
EGYP TIAN 23
We care about type a lot. Use these three typefaces: Agipo Regular for headlines, handwritten text for subheadlines, and Source Sans Pro for body copy. For the wordmark and signage, Agipo Regular is modified slightly to add more character. For these uses, only use the provided type (see signage section).
AGIPO REGULAR For all headline text: use at 14 point or larger, use all-caps only
Source Sans Pro For body copy: use at 8â€“12 point size
We have a lot of personality and it is expressed in the way we write, thatâ€™s why we have our custom-made handwritten type. Use it sparingly, for subheads only. Handwritten type should always be smaller than the largest headline type size.
We based our colors on the ones that ancient Egyptians liked. Our main palette is four colors. The Egyptian Ochre orange is the main brand color and is used most. Use only one color per asset.
COLORS & PATTERNS
Hex: #fc8d00 RGB: 252, 141, 0 CMYK: 0, 54, 100, 0 PANTONE 144C
Hex: #ff4b00 RGB: 255, 75, 0 CMYK: 0, 85, 100, 0 PANTONE 179C
Hex: #76bbca RGB: 118, 187, 202 CMYK: 52, 10, 18, 0 PANTONE 636C
Hex: #00a7e7 RGB: 0, 167, 231 CMYK: 72, 18, 0, 0 PANTONE 639C
Sometimes you just need more color! The secondary color palette is only used if the first four arenâ€™t enough.
COLORS & PATTERNS
Hex: #0b1668 RGB: 11, 22, 104 CMYK: 100, 97, 26, 24 PANTON E 662C
Hex: #f5d32d RGB: 245, 211, 45 CMYK: 5, 13, 92, 0 PANTONE 129C
Hex: #17c8ce RGB: 23, 200, 206 CMYK: 67, 0, 24, 0 PANTONE 319C
Hex: #f3b024 RGB: 243, 176, 36 CMYK: 4, 33, 98, 0 PANTONE 143C
Bright colors spice up our design, but use the spice wisely. Colors are for background shapes and large overlays on top of blackand-white photography and text. Use one color per asset. Colors are also used to differentiate film categories. For example: Independent films are indicated with Ancient Orpiment, Animation uses Indulgent Yellow, and Classics use Rebel Blue.
COLORS & PATTERNS
We use hand-drawn lines to honor our alternative roots and Capitol Hill vibe. These are used sparingly and to add emphasis, and should not interfere with other elements (for examples, see Print Collateral section). Lines are always black, and if resized, should keep original proportions.
As rebels, we donâ€™t like straight lines. Shapes should be skewed rectangles, four-sided and without 90 degree angles. We use shapes for solid-color backgrounds and photo overlays, and they can overlap other elements and go off the page.
Letâ€™s get to the point! When paired with photographs, lines should frame the image, and should not overlap main areas. When used in web, lines are used as underlines, section markers and transitions. Lines can be used to make patterns for merchandise. Color overlays should partially cover photographs and text but strategically, used to group things not separate them.
Our research shows that Egyptian gods were really cool, thatâ€™s why we use them in our illustrations. Illustrations are used sparingly and only on social media and merchandise, not on print materials and not when a lot of text is used. The illustrations reference ancient Egyptian artifacts using black, sketchy line drawings based on simple geometric shapes.
Did we mention that we are iconic? The icon family is used mainly for signage. Icons use strong angular shapes to family with the logo, and have texture to tie-in with the hand-done elements of the branding. They should only be black and white.
Now that weâ€™ve learned about all the details, letâ€™s see how they all work together! Print collateral uses black-and-white photography (even for stills from color films), bold typography paired with hand-done lettering and lines, and color over-lays. Lines help frame photographs and should not overlap text or faces. Only one color is used. Use mainly Egyptian Ochre and follow color coding for specifying film categories. Backgrounds are white and elements should be spaced to allow breathing room.
We are just as funky as our neighborhood is. The exterior of the building has acrylic poster holders with permanent type and color overlays displaying categories of films shown. Black-and-white photos slide in to these holders, creating changable posters that can be updated. The poster holders and the 3D logo light up at night. The lower brick area is painted white with a few graphic line elements and Egyptian Ochre accent.
Our signage is bright because we want our customers to be able to find the bathroom when they need it! Signs use the orange shapes as backgrounds with an icon and a mix of type styles. Text should be contained within background shapes and icons should come off the shapes about 25%. The headline text is used for the main word in the sign and hand-written text should be used for the secondary word.
For a full brand experience, we suggest altering the theaterâ€™s spaces to match the branding by using white space paired with orange shapes, bold typography and hand-done decorative elements. Walls could be painted with brand colors to emphasize the different areas of the theater.
We want to be entertaining even before the movie starts. The prefilm slides can use illustration and motion. Motion should be simple and two-dimentional. See Web Brandbook for motion examples.
WEB & SOCIAL
We want people to get our vibe no matter where they are, thatâ€™s why we have an edgy website. The header is a skewed rectangle. Section headlines, hover states and active links in the main menu are identified by custom-made SVGs based on brand graphic line elements. The website uses Agipo Regular for headlines, Source Sans Pro for body copy, and SVG hand-lettering for emphasis.
WEB & SOCIAL
WEB & SOCIAL
We all spend a lot of time on Instagram so letâ€™s make it fun! For social media, use black-and-white photography and illustration. The logo is used as the profile picture in all platforms, which means it should not be included in social media posts. Motion is encouraged, for example moving posters (see Web Brandbook).
WEB & SOCIAL
We all know our main goal is to sell more tickets. Banner ads should be used to advertise upcoming films and events, and link to the website for more information. The same design rules for posters apply to banner ads. Less text and larger type size is preferrable for legibility and click-throughs.
WEB & SOCIAL
We all get cold in movie theaters, so we made some cozy merch to keep our customers warm and happy. Merch may use any of the elements of color shapes, hand-drawn lines and text, and illustrations. Merch should not use photos. The logo should be displayed prominently on all merch. Unless refering to a film category, only use Egyptian Ochre.
PAPER COFFEE CUP