NYSID Visual Identity Guidelines

New York School of Interior Design Visual Identity Guidelines NOVEMBER 2020

RENDERING BY MONA NAHM ’20 (MFA1)

Contents OVERVIEW

VISUAL IDENTITY

01 Managing our brand

02 Our logo 03 Logo versions 04 Clear space & minimum size 05 Scaling the logo 06 Logo placement 07 Logo alignment 08 Logo misuse 09 Address block 10 Our typefaces 11 Substitution typeface 12 Type hierarchy 13 Colors 14 Photography style 15 How to use photography 16 Patterns

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NEW YORK SCHOOL OF INTERIOR DESIGN | OVERVIEW

Managing our Brand This guide clarifies our visual identity. It is a vital tool for anyone communicating or creating materials on behalf of New York School of Interior Design.

USING THIS GUIDE This guide was developed to ensure proper use of our brand. Communicating consistently allows us to make a single, powerful impression on all our audiences. It’s up to our staff to manage and maintain the strength of our brand. Please refer to this guide whenever you create written communications or designed materials.

THINKING ABOUT COMMUNICATIONS We have many obvious and not-so obvious opportunities to communicate. Make sure you consider how to apply the brand as outlined in this guide in each of these situations: • Printed materials • Online channels (web, email, social media) • On-air presence (radio, TV, video) • Mobile communications • Face-to-face interactions, events, and presentations • Office space and building GETTING ASSISTANCE AND APPROVAL If you are creating a document that requires a new design treatment, please contact our external relations staff. They may have helpful resources to share for your project, and can ensure that the style guide is applied consistently.

For any questions, please contact: David Owens-Hill, chief of staff, at david.owenshill@nysid.edu.

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

Our logo

RED SQUARE

The New York School of Interior Design logo unifies us across all of our programs and audiences. It is the foundation of our visual identity and should be featured prominently on all of our materials.

The NYSID logo is made up of our name, carefully typeset in a specific font (a “wordmark�) within a red square. The elements of our logo are not intended to be separated. Never redraw or recreate our logo; always use the master digital artwork provided.

Our logo should always appear, at least once, on every communication, but it is also acceptable to write out our full name in the context of other copy.

See the following pages for rules on sizing and spacing, which will help solidify our brand when used consistently.

WORDMARK

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

Logo versions There are red, black, and white versions of our logo. The red logo is a critical element of our brand and should be used as often as possible.

The black and the white versions are provided for use mainly in black-and-white or grayscale scenarios. We suggest not using these on full color materials.

RED LOGO

BLACK LOGO

WHITE LOGO

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

Clear space For optimal legibility and impact, our logo should be set apart from other design elements or text. The minimum amount of space between the logo and other elements should be at least equal to a “D” from “Design,” if not more.

Our logo may, however, be used as a tab device overlapping photographs or other imagery as long as there is enough contrast to visually separate the logo.

Minimum size In order to maintain legibility, do not scale the logo below .75". Always make sure to scale the logo proportionately.

.75" (print) 72 PX (screen)

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

X

Scaling the logo Scaling the logo Our logo should be scaled as consistently as possible, across various media. In general, the logo should be around 1/7 or 1/8 of the longest width of the page. Note that proportions for oversized publications will vary (i.e. posters).

Size recommendations Some common page formats and corresponding recommended logo sizes, are: Page Size

Logo Width

5 x 7"

1"

8.5 x 11"

1.375"

36 x 24"

4.5"

7X

8X X

POSTCARD EXAMPLE

8.5x11" EXAMPLE

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

Logo placement Our logo can be placed close to any edge of a page, as long as it is in proximity to a corner, not centered on the page. Do not bisect the page in half with the logo.

If a situation requires it, the logo can bleed off the edge of the page.

EXAMPLES OF HOW TO PLACE THE LOGO

LOGO ALIGNMENT & DISTANCE FROM CORNER

EXAMPLES OF HOW NOT TO PLACE THE LOGO

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

Logo alignment When appearing above text, the logo is most comfortable aligned so that the left of the red square align with the left edge of the text.

When appearing below text, the logo is most comfortable aligned so that the left of the bars align with the left edge of the text.

When appearing next to text, the logo is most comfortable aligned so that the baseline of the text aligns to the bottom of the word “Design.” The minimum amount of space between the logo and other elements should be at least equal to a “D” from “Design,” if not more

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

Logo misuse The examples on this page illustrate examples of misuse of the logo that can dilute the strength of our brand. As a rule, always reproduce the logo using the appropriate master digital file and do not modify or alter it in any way.

DO NOT STRETCH OR CHANGE THE PROPORTIONS OF THE LOGO

DO NOT CHANGE THE COLOR OF THE LOGO

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DO NOT ROTATE THE LOGO

DO NOT ADD ELEMENTS TO THE RED SQUARE

DO NOT REARRANGE OR ALTER THE PROPORTION OF ELEMENTS WITHIN THE LOGO

DO NOT PLACE THE LOGO ON AN OVERLY BUSY BACKGROUND OR ONE WITHOUT SUFFICIENT CONTRAST FROM THE LOGO

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

X X

Address block Our address block should appear in a consistent manner throughout our communications.

It should always be typed out in Whitney Book. In general, it should be set at 7 pt with 9 pt leading. When placing our address next to our logo, align to the bottom of the word “Design” with a distance of the right-hand margin inside the logo (X).

In cases where space is limited, and if the logo has already appeared, it may be more appropriate to type out our name along with our address, in place of the logo. For example, if the logo has been used on the front of a postcard, it is acceptable to leave it off the back, and treat the address as a more traditional return address element.

170 East 70th Street New York, NY 10021

WHITNEY MEDIUM, 7/9 pt

LOGO/ADDRESS LOCK UP

NEW YORK SCHOOL OF INTERIOR DESIGN 170 East 70th Street | New York, NY 10021

WHITNEY SEMIBOLD ALL CAPS, 7pt WHITNEY MEDIUM, 7/9 pt

ADDRESS ALONE

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NEW YORK SCHOOL OF INTERIOR DESIGN 170 East 70th Street | New York, NY 10021

Join us for our Open House!

Saturday, Oct 16, 2021, 11 AM Come and explore the many career opportunities available in the exciting profession of interior design.

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AENEAN NONUMMY NIB Register at: nysid.edu/openhouse POSTCARD EXAMPLE

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

Our typefaces Consistent use of typography strengthens the recognition of our visual identity and helps maintain a sophisticated, professional look for our materials and communications. Use the typefaces shown here to create a unified look across all media. Additional typefaces should generally be avoided.

Our primary headline typeface is Whitney and our text font is MercuryNormal.* Use other variations of these font families sparingly and only as needed. *In body copy, make sure to use the Open Type feature “Proportional Lining” for setting numbers in Mercury.

DISPLAY FONT

Whitney Book WHITNEY BOOK Whitney Medium WHITNEY MEDIUM Whitney Semibold WHITNEY SEMIBOLD BODY AND SMALL SUBHEADS FONT

Mercury Roman 1234567890,.?!`@$&

Mercury Bold

ACCENT/PULL QUOTE FONT; FORMAL USE HEADLINEFONT

Whitney Light Italic

Whitney Light

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

Substitution typefaces Since our brand typefaces are not available for general use in Word documents, PowerPoint presentations, or other digital applications, we suggest using these typeface substitutes for all business correspondence—i.e. Outlook e-mails, printed letters, Powerpoint presentations.

Sans-serif substitute: Calibri Serif substitute: Georgia Do not use these fonts on professionally designed materials.

Serif: small line attached to the end of a larger stroke in a letter

CALIBRI

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890,.?!`@$& GEORGIA

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890,.?!`@$&

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

Type hierarchy Consistent use of type styles will ensure cohesiveness across all NYSID communications. The example on this page shows one way type sizes and styles can be combined in a designed publication. Optimal sizes and formatting may vary based on the type of communication.

Heading

HEADING Whitney Book 36/40 pt SUBHEADING Whitney Book all caps; 12/14 pt

SUBHEADING

Throughout our nearly 100-year-old history, NYSID has worked hard to maintain a nourishing and academically rich learning environment, while also adapting to the times and staying current and fresh. NYSID thrives on the synergy between tradition and innovation.

You can see it in the classic architecture of our 70th Street buildings and in our sleek and modern Graduate Center. It’s also evident in our academic programs; our triedand-true degree programs, like the BFA, make up the core curriculum, while our newest programs, such as the one-year MPS in Healthcare Interior Design, are reflecting — FIRSTNAME LASTNAME, TITLE and driving a changing profession.

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Subheading 2

You can see it in the classic architecture of our 70th Street buildings and in our sleek and modern Graduate Center. It’s also evident in our academic programs; our tried-and-true degree programs, like the BFA, make up the core curriculum, while our newest programs,

CAPTION SINCTUR ALIT APERUM AS ENDELLO RESTRUM

BODY Mercury Normal 9/13 pt

CALLOUT Whitney Light Italic 18/22 pt

SUBHEADING 2 Mercury Bold 12 pt

CAPTION Whitney Medium all caps; 7 pt

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

Colors

PRIMARY COLOR PALETTE

Red (PMS 1797) is NYSID’s official color and plays an essential role in our brand identity and in establishing cohesiveness and recognition among our audiences. Since white is also an important color, white paper is usually a better choice than off-white or colored papers for printed publications.

Secondary colors (neutrals) A palette of neutral colors (cool grays) is included to support the red and keep our communications from feeling too stark.

PMS: 1797C OR 1797U CMYK: 13 / 94 / 84 / 3 RGB: 206 / 52 / 56 HEX: #CE3438

WHITE CMYK: 0 / 0 / 0 / 0 RGB: 255 / 255 / 255 HEX: #FFF

BLACK CMYK: 0 / 0 / 0 / 100 RGB: 0 / 0 / 0 HEX: #000

Secondary colors (campaign) The campaign colors offer an extension to the primary color palette and should be limited in use, mainly to support marketing and fundraising campaigns.

SECONDARY COLORS (NEUTRALS)

SECONDARY COLORS (CAMPAIGN)

PMS: COOL GRAY 11C CMYK: 66 / 57 / 51 / 29 RGB: 84 / 86 / 90 HEX: #54565A

PMS: COOL GRAY 7C CMYK: 43 / 35 / 35 / 1 RGB: 152 / 152 / 154 HEX: #98989A

PMS: 7701C CMYK: 100 / 62 / 35 / 16 RGB: 0 / 86 / 119 HEX: #005677

PMS: 305C CMYK: 58 / 0 / 7 / 0 RGB: 84 / 200 / 231 HEX: #54C8E7

PMS: COOL GRAY 3C CMYK: 21 / 17 / 17 / 0 RGB: 200 / 200 / 200 HEX: #C8C7C7

PMS: COOL GRAY 1C CMYK: 14 / 11 / 12 / 0 RGB: 217 / 216 / 214 HEX: #968C83

PMS: 143C CMYK: 3 / 32 / 91 / 0 RGB: 245 / 171 / 53 HEX: #F4B233

PMS: WARM GRAY 7C CMYK: 43 / 41 / 45 / 5 RGB: 150 / 139 / 131 HEX: #968B83

CMYK/RGB/HEX conversions based on adjusted Adobe Illustrator values.

The colors represented throughout this guide have not been evaluated by Pantone, Inc and may not match the Pantone system. Consult a Pantone Color Formula Guide for reference. PANTONE® is the property of Pantone, Inc.

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

Photography style

THE PEOPLE

Colorful, dynamic, and well-lighted photos are an important way to show what NYSID is all about. Real photos showcasing our students are best; stock photography should be avoided.

Our photography can be broken down into three subject categories: 1. The people: Images of people are the best way to communicate the diversity and dynamic community of NYSID, and should be included whenever possible. Choose active-looking moments rather than posed shots. Having a clear focus, such as close-ups of faces or other details can make photos more compelling.

THE ENVIRONMENT

2. The environment: Images of our environment can include the insides and outsides of our buildings, as well as the larger environment of New York City. These photos should convey the energy of the atmosphere inside and outside of our walls.

3. The work: Images of student or alumni work is a great way to show what a NYSID education is all about. Be selective when choosing work, to show off our best talent. Be sure to create pacing when using these images. Consider using a structure such as a grid and/or ample white space between images.

Be mindful of maintaining a balance among these categories, in any given communication, giving preference to people images. When there is not a clear subject matter to portray, textural or abstract photography can also be a good option.

THE WORK

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

How to use photography

CROPPING/ FINDING FOCUS

When selecting images for an application, don’t forget to consider the various typographic and graphic components that will coexist with the image. Often times, a single image will communicate more clearly and effectively than multiple images can.

Cropping A communications piece will have more impact when an image is appropriately scaled and cropped. Distracting and unattractive backgrounds should be avoided and/or deliberately cropped out.

Combining photos Combining images can be useful in telling a fuller story. When combining, make sure to use images that complement each other by either grouping photos from multiple subject areas, or grouping tightly related images.

It can also be effective to contrast a wideangle or more abstract shot with a close-up.

Avoid combining photos with overly busy backgrounds. Groups of photos should be laid out in a grid or with plenty of white space in between.

BEFORE

AFTER

COMBINING PHOTOS

EXAMPLE OF COMBINING A DETAILED, CLOSE-UP PHOTO WITH A WIDER-ANGLE PHOTO

EXAMPLE OF COMBINING MULTIPLE, CLOSELY RELATED PHOTOS IN A GRID

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NEW YORK SCHOOL OF INTERIOR DESIGN | VISUAL IDENTITY

Patterns Our set of patterns play a supporting role in our communications.

Chair patterns Derived from the bold black and white wallpaper designs in our graduate center, the chair patterns we include in printed and digital communications should be used in a softer tone-on-tone execution so that we don’t overwhelm our brand. Use these patterns with our primary or secondary colors as a background.

CHAIR PATTERN EXAMPLES

Textural patterns In addition to the chair patterns, a set of textural patterns—inspired by interior design finish materials such as wood, tile, and fabric— can be used as subtle background elements in layouts. These patterns should always appear in light gray on white (~10%).

Pattern do’s + don’ts Use patterns sparingly. Not every material will or should need them.

• Do use patterns to add texture or interest when there is a minimal amount of text or other elements in your layout.

• Do not use patterns in conjunction with graphic elements such as photographs, shapes, or complex headline treatments.

• Do use patterns at a small scale rather than as a large or bold element.

• Do not mix chair and textural patterns in the same piece.

TEXTURAL PATTERNS