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! T I D I D I

REBRAND STYLE GUIDELINES


The New York Film Academy is the largest film school in the world with a global network, providing main campuses in New York, California and Abu Dhabi. The institution was founded in 1992 on the belief that a top quality education in filmmaking should be accessible to anyone with the drive and ambition to make films.


USER PERSONA Although, a very diverse institution, the rebrand initiatives recognize that there are clusters of students who exhibit similar behavioral patterns in their interests, use of technology or products, lifestyle choices, and the like. These clusters are called User Personas, used in the institution’s advertising as a visual call-to-action, targeting those particular students. This method not only increases student enrollment, but also instills the comfort and confidence needed to encourage some students that NYFA is the perfect institution for them.

NAME: Andy Age: 20 Degree Program: Filmmaking BFA Story: Andy is a young, multi-talented creative, asp iring to be a Grammy award winning film director in the future. He is a native of New York City, who recently graduated from senior high school. After his high school graduation, Andy decided not to go to college as his parents requested, but traveled to Europe for six months to explore the arts. Upon returning home to New York City, landed a part-time copywriting job at a small Manhattan production studio named CR Creative.


MOODBOARD The moodboard was created for visual inspiration to aid in development of the campaign. These images portray characteristics and textures that visually describe the brand and users.

New York Film Academy | Style Guidelines

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BRANDMARK Evolution and revolution are both forms of change that should be considered when designing a logo. Evolution is a slower process, which matures over time, while revolution bursts (Capsule, 2007). A revolutionary logo redesign for the New York Film Academy will directly affect the institutions brand perception. “Logo change is a great opportunity to gain attention and renew enthusiasm about the brand” (Capsule, 2007, p.116). The NYFA logo redesign will now signal a bright future and reflect the institution’s innovation, while respecting the brand’s past (Capsule). The new logo design is an abstract mark featuring three circles, which was inspired by NYFA imagery and the original film school logo. The circles come from the highlight that would be seen on the lens if you were looking directly at the cameras front. Abstract marks can provide strategic ambiguity, and work effectively for large companies. These marks are also especially effective for servicebased and technology companies (Wheeler, 2009).


SECONDARY The NYFA logo is also available in horizonatal layout versions, which will allow for more flexibility in placement. This version should only be used if the primary version will not fit pertaining to placement guidelines.

PRIMARY LOGO

LOGO ELEMENTS

Gast advises that if a logo redesign is necessary, then keeping key elements of the old logo, while simplifying the look is the best way to go (Gast, 2011). If the logo redesign is strayed to far away from the original logo, the response may be negative because consumers often get attached to images (Gast). Subtle elements of success that contribute to an effective logo redesign include, switching from a Serif to Sans Serif font, which Gast (2011) describes a an component for a cleaner and more modern look that works well with web and print. In NYFA’s case, a drastic change must take place in order to promote awareness and contribute to a newfound school spirit.

Each of the pieces below are combined to create the brands official identify symbol. The Brandmark represents the sometimes subtle, but other times intruding glare that reflects from a 35mm camera lense, which was featured in the previous logo. The logotype uses bold and compact type to emphasize the foundation of the institution and the tagline declares the institution’s purpose.

The new NYFA logo successfully adheres to the rules of good design. The use of an abstract symbol effectively represents the institution in a contemporary characteristic, while still maintaining key elements of the previous logo.

Brandmark Century Gothic Regular *Kerning: 315 Logotype Century Gothic - Bold Kerning: 0 Tagline Josefin Slab Bold

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CLEAR SPACE To protect the integrity of the logo it must remain out of interference of surrounding elements. The grid dimensions demonstrate the clear space needed in reference to each element of the logo to ensure maximum visibility. The logo must never be printed below the minimum dimensions. Graphic elements must keep a clear space around the logo equal one (1) height and width of the letter “O” in the name logotype, New York. When using all three brandmark elements (brandmark, logotype and tagline), each element must keep a clear space from each other of one (1) the height of the letter “O”.

*With the exception of the tagline, which must remain half “O” size.

MINIMUM SIZE The logo elements must always remain large enough to maintain legibility at all times. TThese sizes represent common sizes used on basic documents. The complete logo with tagline must never be reduced lower that 1 inch the width of the outer most element (logotype). When reduce beyond 1 inch, the tagline become unidentifiable. The brandmark may be used by itself, but never reduced lower than .25 inches.

1”

1”

1/2”

1/4”


LOGO USAGE The NYFA logo is made up of specific elements and font that ensure consistency in presentation and the unique brand presence. The logo must never be displayed out of its standard vertical and horizontal forms. The NYFA logo should never be altered in ways that will hinder its visibility.

THE LOGO CAN BE: The logo can only be recolored in, black and white or one of the colors from the official NYFA color palette.

The primary logo should always be the first option of display, but other options are available if the brand presence or visibility is diluted.

THE LOGO SHOULD NEVER BE: Recolored outside or the NYFA color palette.

Feature added effects, rotated, stretched, multi-colored or the like.

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BACKGROUND TREATMENT The logo must never be placed on a background that will jeopardize its integrity. The official full color logo should only be used when placed on a neutral, solid light gray or white backgrounds. All other instances must feature the logo in one solid color, black or white or selected from the color palette.

*The institution’s secondary NYFA teal is the only exception in which the full color logo can be placed on a color outside of the neutral tones.


COLOR PALETTE The NYFA culture is most dependent on the brand creative nature. The brand encourages students to capture, hone and expand on their creative aesthetic by playing various roles in the film industry through hands on training with industry tools. The compliment of analogous, warm and cool color palettes, combine to create an expressive color combination that exudes creative balance. The color palette features a primary and secondary palette. The primary palette is used on the institution’s official documents, while the secondary palette is used as a compliment in creative executions. The primary color palette uses a combination of warm colors, red and orange, which together create a friendly and inviting tone. The secondary color palette invites the creativity and inspiration of the cool colors, teal and purple to compliment compositions. And two different shades of grays are used to neutralize the palettes, as gray has a cooling effect when placed next to other more vibrant colors. The gray uses a stabilizing effect, making the vibrant palettes stand out while muting their vibration� (Color Gray Meaning, n.d).

PRIMARY

Red

RGB: 166, 30, 37 PMS: 187 C

Orange CMYK: 15, 72, 100, 3 RGB: 208, 101, 40 PMS: 7583 C

Cool Gray CMYK: 40, 32, 32, 0 RGB: 159, 161, 161 PMS: 422 C

NYFA Teal CMYK: 77, 23, 27, 0 RGB: 42, 153, 175 PMS: 7711 C

CMYK: 23, 100, 96, 18

Dark Gray CMYK: 65, 57, 56, 34 RGB: 81, 82, 81 PMS: 7540 C

SECONDARY

Purple CMYK: 82, 100, 32, 35 RGB: 63, 25, 81 PMS: 2627 C

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TYPOGRAPHY

HEADLINE

The success of the NYFA rebrand is dependant on subtle elements, such as the consistency in font. Gast explains that simply switching from a Serif to Sans Serif font, allows for a cleaner and more modern look that works well with web and print. The Century Gothic font family is used on all body copy because contributing contemporary style and quality display abilities. Josefin Slab was selected to contribute contrasting bold highlights to advertising.

Josefin Slab - Bold ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789?! SAMPLE:19pt

I DID IT...at NYFA!

TAGLINE

Josefin Slab - Regular ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789?! SAMPLE:19pt

Learning by Doing

BODY

Century Gothic - Bold ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789?! Century Gothic - Regular ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789?! Century Gothic - Italic ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789?! SAMPLE:16pt

NYFA offers degrees in...


BLEED TYPE

CENTURY GOTHIC - Century Gothic is one of the most popular and appealing modern sans-serif fonts. Century Gothic maintains the basic design of 20th Century but has an enlarged ‘x’ height and has been modified to ensure satisfactory output from modern digital systems. A design based on 20th Century, which was drawn by Sol Hess between 1936 and 1947. The Century Gothic™ Font Family design is influenced by the geometric style sans serif faces which were popular during the 1920’s and 30’s. Century Gothic™ Font Family is useful for headlines and general display work and for small quantities of text, particularly in advertising. Josefin Slab - Bold is altered with a special outline to ensure it makes headline is bold enough for an effective call-to-action.

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INTERACTIVE FUNCTIONS Interactive elements on pages function as call-to-action’s, maintaining viewer interest. To prevent distractions, these elements simply move away as the page scrolls or the users hovers their mouse. The new home page provides a more interactive interface, allowing the user a more efficient experience in functionality and organization. The filmstrip presents new information in an appealing format, allowing the viewer to scroll by clicking and dragging left or right; clicking the transparent arrow, or simply waiting as the strip slides to the right. SOCIAL MEDIA INTEGRATION Integrated social media platforms allow the user to connect and share information via social media networks from any page of the website, increasing probability of exposure for the brand.

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STATIONERY LETTERHEAD 8 -1/2” X 11”

All official institution correspondence should be carried out the rebranded business stationery. The stationery set should only use the primary professional color palette. Each piece must a minimum feature the orange bar and 1 inch to 1/2 in brandmark. Each piece should also only utilize the Century Gothic font only in the specifed font sizes.

ENVELOPE 4-1/8” x 9-1/2”

8pt 1/4”

1” 1/4”

1-1/2”

1/2”

1” 1/2”

1/2”

LETTERHEAD (FOOTER)

10pt

Dear Andy,

10pt

100 East 17th Street New York, New York 10003 | www.nyfa.edu

Congratulations! We are pleased to inform you

100 East 17th S New York, New


BUSINESS CARD 3-1/2” X 11”

7pt 1”

1/2”

Dr. Jane Doe, Program Director Acting Academy

1/2” p: 212.674.4300 f: 212.288.2836 e: jdoe@nyfa.edu

Street w York 10003

www.nyfa.edu

1”

1”

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REFERENCES

IMAGES Jackson, Cheyenne. (2012). UnleashtheU Photography. New York Film Academy. (n.d.). Film School - New York Film Academy. Retrieved January 1, 2012, from http://www.nyfa.edu/

RESEARCH Appelo, T. (2011, July 27). The 25 Best Film Schools Rankings . The Hollywood Reporter. Retrieved January 11, 2012, from http://www. hollywoodreporter.com/news/25-best-film-schools- rankings-215714 Brand Positioning (2008). Management Study Guide - Free Training Guide for Students and Entrepreneurs. Retrieved January 14, 2012, from http://www.managementstudyguide.com/brand-positioning.htm Chapleo, C., Carrillo Duran, M., & Castillo Diaz, A. (2011). Do UK universities communicate their brands effectively through their websites?. Journal Of Marketing For Higher Education, 21(1), 25-46. doi:10.10 80/08841241.2011.569589 Corporate Identity Style. (n.d.). LogoOrange.com . Retrieved January 15, 2012, fromhttp://www.logoorange.com/corporate- identity-manual-brand-style-guide.php Figures. (n.d.). College View. Retrieved February 10, 2012, from www.collegeview.com/schools/new-york-film-academy/figures Gast, E. (2011, September 26). Rebranding Your Logo - Why and What Works, Onextrapixel, Web Design & Development Online Magazine. Onextrapixel, Web Design & Development Online

Magazine. Retrieved February 18, 2012, from http://www.onextrapixel.com/2011/09/26/rebranding-your-logo- why-and-what-works/ Neumeier, M. (2006). The brand gap: how to bridge the distance between business strategy and design : a whiteboard overview (Rev. ed.). Berkekley, CA: New Riders. New York Film Academy. (n.d.). Film School - New York Film Academy. Retrieved January 11, 2012, from http://www.nyfa.edu/about/ Rossiter, J. R. (1982). Visual Imagery: Applications to Adveritising. Advances In Consumer Research, 9(1), 101-106. Wheeler, A. (2009). Designing brand identity: an essential guide for the entire branding team (3rd ed.). Hoboken, N.J.: John Wiley & Sons.


Jamasa McPherson jamasa.mcpherson@gmail.com


Case Study: New York Film Academy