Page 1


Table of Contents 2

Brand Essence

5

Master Logo

13

Color

18

Typography

26

Secondary Visual Language

29

Photographic Styles & Imagery

30

Paper

30

Page Layout

31

Collateral System

36

Summary

37

Information


Brand Essence The Museum of Bees was created to be the most comprehensive source of all things melittologistic. The concept was is to aggregate all aspects of the apiary world into a single, sophisticated location. Today the Museum of Bees is situated in Jacksonville, Florida and is—indeed—an incredible and vast collection of the apiary world. The Museum of Bees is an institution that collects and maintains the knowledge of bees to the broadest extent: bee well-being, beekeeping, and the history and evolution of modern apiculture. This sort of articulation and curation must have a steadfast brand identity for cohesion.

This sort of identity has been created. The Museum of Bees has been granted a visual aesthetic that communicates this expertise, this knowledge and this sort of archival. The brand is mature, organized and cultured. The tone of the brand is simple. The voice is to be clear and consice. Extensive information will be presented with clarity through comprehension. An impression of awareness is to be conveyed along with confidence: instructive and exact.

In a matter of separation from archetypes and cliches, elements of the complete identity—as well as the logotype itself—are geared towards a more unique and individually characteristic brand. There is an intentional lack of hexagons, black-and-yellow color combinations, excess honey references and goofy bee illustrations.

Although these elements might exist within the brand, they have been designed, crafted and geared towards a more aware and mature audience of appreciation to unify the synthesis of the knowns, the recognized and the aesthetic, the craft.

3


The Museum of Bees is

4


Master Logo (Horizontal) The primary mark of the brand is a simple logotype set in Brandon Grotesque with modifications. The prefered color for white or light backgrounds is the deep orange (Pantone 173 up). For darker backgrounds, an exclusive color system has been established (see color systems). When placed over a photograph or illustration the color of the logo may be removed from the image.

6


Master Logo (Vertical) The secondary mark is optically aligned vertically. This mark fits more consistenly within the confines of a square—which is often easier to design around.

7


Color System Occurance of the mark in color should be limited to a precise palette. For photographs or darker backgrounds, white is recommended while a light tan is also provided. For the sake of consistency, orange, brown tan are provided for exclusive use with the logo. For all instances, contrast is priority. Here are the exact parameters for instances the logo appears in and on another color.

8

Brown: • cmyk 7, 65 100, 37 • rgb 157, 81, 18 Orange: • cmyk 56, 100, 10, 0 • rgb 229, 128, 29 Tan: • cmyk 1, 2, 100, 0 • rgb 253, 244, 210 Color is further defined on page 13.


Minimum Size Occurance of the mark in color should be limited to a precise palette. For photographs or darker backgrounds, white is recommended while a light tan is also provided. For the sake of consistency, orange, brown tan are provided for exclusive use with the logo. For all instances, contrast is priority. (See page 12 for additional color definitions.)

1�

.50�

(1/2�)

9


Clear Space Clear space around the logo should equal the width of the uppercase initial M for all horizontal instances of the logotype. The vertical clear space should be the height of the M. This exact allocation applies to the vertical mark as well: clear space equal to the height and width of the uppercase M.

10


Limitations Do not use a stroke on the logotype.

Do not mix colors from the color system.

Do not explore stretch, warp or transforming effects.

Do not use clipping masks or fills other than solid color,

11


Color Color is an integral piece of the Museum of Bees identity. Simple colors and color decisions can drive emotion and mood. The color spectrum and chroma synthesis has been carefully chosen to blend the language and semiotics of the brand with the visual vernacular. Please reference the exclusive color palette of the logo on page 7. All other colors on pages 13 and 14 are to be used as accessory colors. The application of these colors to the logo is prohibited. This palette is exclusive to the brand and no other colors may be used within the Museum of Bees identity.

Nature is one of the primary sources from which color has been withdrawn. This should be apparent in any collateral branded with the Museum of Bees name. Natural, muted colors should saturate accessories of the identity with small doses of accent colors abstracted from bright, floral colors that bees are found in the same environment with.

13


14


15


Typography Typography is an expressive visual language. The typography of the brand should communicate an overall organic look with a warm touch. Natural, smooth and handcrafted typefaces have been selected to represent the brand. Feijoa is the book typeface for small print, from 16 pt to smaller sizes. Its large x-height eases legibility. Omnes Pro is the primary sans serif typeface to support lengthier communication outside of Feijoa. Omnes is the primary wayfinding typeface for larger text in directional signage. Museo Sans is the supporting sans serif font. The typography selected is exclusive to the brand. No other type should be used to express content from the voice of the Museum of Bees.

18

Museo Sans should be used to support Feijoa as well as Omnes Pro. Bello Pro is included in the type canon as a script face for less frequent instances. Bello Pro has in it a set of small caps as a sister personality within the font. This set of small caps should be used primarily when accessing Bello as a face for design purposes. Web fonts are included in the style guide for an online presence within the brand. This avenue of typographic representation can be serviced through TypeKit. In the instance that Feijoa cannot be used as live text online or set as an image, it is recommended to use Georgia.


19


Feijoa is based on the principle that ‘a straight line is a dead line’, which explains the warm, curvaceous nature of the individual letterforms. This relieves it from the sharp points and angles that can be detrimental to digital typefaces and works to humanise the overall visual impression. The core of the Feijoa family are the text weights, useful for book typography and extended periods of reading. The Display is drawn specifically for headlines, effective for sizes 16pt and larger. All styles include several fanciful ligatures. —Klim Type Foundry


Museo Sans is a sturdy, low contrast, geometric, highly legible sans serif typeface very well suited for any display and text use. Museo Sans font family comes in ten fonts: five weights with each an italic. —exlijbris Type Foundry


Omnes Pro takes the curvaceous yet crisp original and turns it up to eleven. Many robust features have been added, making it better than ever for no-nonsense editorial work. Omnes’ middle range is built for text use, and its weights on either end of the spectrum command a broader range of moods, from its austere, warm Hairlines to its punchy, convivial Blacks. —Darden Studio


Bello Pro is a brush typeface for headline point sizes. Bello comes in two styles: script and small caps. Bello Small Caps are upright and sturdy. As sturdy as brush lettering allows for, of course. The application of Bello to the Museum of Bees should almost exclusively be limited to small caps, however the script style has its place sparingly. —Underware Type Foundry

23


Secondary Visual Language Aside from typography, color and the logo, the Museum of Bees identity extends further. Additional graphic images have been created to strengthen the aesthetic. A set of illustrated vector bees has been crafted to enhance the aesthetic of the classic bee shape within the brand. Their rough edges and unrefined illustrative qualities convey the aesthetic of the vintage-modern of the essence of the Museum of Bees. The set of vector bees is to be used sparingly and at generally smaller sizes.

26


Secondary Visual Language A set of icons was developed for the brand to extend the identity to wayfinding and directional signage. The icons are not limited to signage and also have their place in print documentation and advertising material. The same color regulations that apply to the logo apply to the icons as a matter of contrast and consistency.

A minimum size for each icon is recommended at no less than 1/4� to retain legibilty and recognition.

.25�

27


Secondary Visual Language As for rules and guides, each stroke weight should not exceed the weight of any text that is is placed by. That is, the stroke weight should be equal to or less than the stroke weight of the letterforms.

28

Patterns should be placed with care, infrequently. The use of patterns might convey a simple emotion of insecurity of negative space. These shapes, in repetition, should be light and excusively used as backgrounds.


Photography As an educational museum, photography is crucial to the integrity of communicating the intelligence housed in the Museum. A partnership has been established with well-known photographer, Eric Tourneret, “The Bee Photographer.” Tourneret’s work has been featured in periodicals and publications across the world. His expertise with a camera in an environment of bees is a perfect fit for the Museum’s

Tourneret’s photography is professional and his photographs should be treated with respect. The use of excessive color correction should be abstained from; any transformations or distortions are entirely prohibited. However, a simple blur effect can be applied to photographs to de-emphasize the detail of the work. Notice how photographs within this publication have been blurred to expressive color movements, rather than detalied photographs.

29


Paper When not on the web, paper is the medium by which consumers will tangibly connect with the Museum of Bees. For this instance, in addition to all design guidelines, the paper quality must be established. Paper weight should always be at least that of copy paper, 80# text. The paper should never exceed a general weight 100# cover. Please also abstain from rounded edges of papers; all cuts should be square and precise.

Grid & Layout Gathering and laying out elements is just as crucial as the elements of design themselves. The use of a grid is always recommended (this style guide is laid out at a 10 x 9 grid). Elements should never overlap or compete and hierarchy should be top priority when arranging elements of design.

30


Collateral System The print system established is simple and meant to convey a certain strenth and tone. Use the following pages as reference. The front and back cover of any document should be a solild orange. The cover of documents should include the horizontal master logo along with the name of the document. The business card template has been designed. This template should remain constant while only the name and position of the partner are replaced as necessary.

The envelope is the tan defined in the color system. The interior of the envelope is solid orange. With the envelope as well as the back of the letterhead, as well as the back of any document, the honey dipper and drop of honey should be included. For any questions in regards to color options or color matching, please reference the defined color systems listed on page 12.

31


34


35


Summary The Museum of Bees has a firm grasp of a brand identity. This guide showcases elements of the brand to highlight the uniqueness of the identity and the value of the name. In summary, this style guide names the exclusive color system, visual language, typography and emotional weight that the brand is to carry. It is prohibited to explore outside the distinctions made within this document while designing under the name of the Museum of Bees.

36

Always maintain the gestalt, the essence or shape of the entity’s complete form, of the brand name. See to the design of any extending collateral adhering exclusively and completeness to what is included in this guide.


Information These guidelines are for the use of the Museum of Bees design team and associated agencies only. If you are ever in doubt, please refer back to this document. Respect for the cohesive brand proliferates the professionalism and integrity of the identity. With a little effort towards design aesthetic, the Museum of Bees will continue to be an established name in the apiary world. Thank you.

Museum of Bees 117 West Duval St. Jacksonville, fl 32202 (904) 630-1396 museumofbees.com

37


Style Guide  

This was an academic assignment to create a comprehensive brand identity and collateral system for a museum.

Read more
Read more
Similar to
Popular now
Just for you