Orlando Ballet - Brand Guide

BR AND GUIDELINES

REVISED 8.2025

TABLE OF CONTENTS 01 • THE FOUNDATION ������������������������ 4

06 • ACKNOWLEDGMENTS &

Introduction ������������������������������������������������� 5

SPONSORSHIPS ������������������������������������ 38

Live Music ��������������������������������������������������39 02 • BR AND PERSONALIT Y ����������������� 6

Level 1 Sponsor �������������������������������������������40

Vibe, Visual, Voice ��������������������������������������� 7

Level 2 Sponsor �����������������������������������������42 Level 3 Sponsor �����������������������������������������44

03 • VOICE & MESSAGING ������������������ 8

Level 4 Sponsor �����������������������������������������46

Story Compass ��������������������������������������������� 9 Brand Voice ��������������������������������������������������10

07 • EVENTS ���������������������������������������� 48

Positioning Statements �������������������������������11

Ballet Ball ��������������������������������������������������49

Critical Points & Priorities ��������������������������12

Signature Event Series �����������������������������50

Examples �����������������������������������������������������13

Events Color ����������������������������������������������54 Events Typography ����������������������������������55

04 • VISUAL IDENTITY ������������������������ 16

Primary Logo �����������������������������������������������17

08 • SCHOOL BRANDING ��������������������� 56

All Logos �����������������������������������������������������18

School Logo ����������������������������������������������� 57

Logo Usage �������������������������������������������������20

School Logo Variations �����������������������������58

Typography �������������������������������������������������22

School Color ����������������������������������������������59

Color �����������������������������������������������������������24

School Typography �������������������������������������60

Photography �����������������������������������������������26

School Photography Principles ����������������62

Credits ��������������������������������������������������������30

School Program Wordmarks ����������������������66

Negative Space �������������������������������������������31

Preparatory Training Center ���������������� 67 The Academy ����������������������������������������68

05 • SHOW BRANDING ������������������������ 32

Workshops & Masterclasses ��������������69

Building a Color Palette ���������������������������� 33

Summer Intensive �������������������������������� 70

Season Typography �����������������������������������34

Fitness Thru Dance ������������������������������71

Show Titles �������������������������������������������������36

Spring & Summer Camps �������������������� 74 Community Programs ������������������������� 75 09 • PUTTING IT ALL TOGETHER ��������� 76

Our Brand in Action ���������������������������������� 77 Brand Spectrum ����������������������������������������� 78

SECTION 1

The Foundation This is the solid ground that our entire brand is built upon.

THE FOUNDATION

4

Bringing new life to a beloved art form.

As Central Florida’s only professional ballet company, Orlando Ballet brings the transformative power of dance to the stage and the community.

From bold retellings of timeless classics at the iconic Steinmetz Hall at Dr. Phillips Center to impactful education and outreach through Orlando Ballet School and community programs, the company is shaping the future of dance while inspiring audiences of all ages.

THE FOUNDATION • INTRODUCTION

5

SECTION 2

Brand Personality Our brand personality establishes a consistent vibe, voice and visual look for Orlando Ballet, one that reinforces who we are and all we stand for. As we bring our brand to life every day, our personality should shine through with every interaction and piece of communication.

BR AND PERSONALIT Y

6

BR AND PERSONALIT Y

Our personality determines how Orlando Ballet comes across to the world. We define our brand personality across three aspects.

VIBE

VISUAL

VOICE

How our brand feels

How our brand looks

How our brand sounds

Limitless

Luxurious

Evocative

Polished

Elegant

Precise

Fresh

Sophisticated

Inviting

Magical

Curated

Bold

Imaginative

Intentional

Alive

BR AND PERSONALIT Y • VIBE, VISUAL, VOICE 7

SECTION 3

Voice & Messaging Our Brand Voice tells our story in a way that connects with and moves our audience. It reinforces that Orlando Ballet is an organization that entertains, educates, and enriches our community.

VOICE & MESSAGING

8

RT

Uncorked

BE C bi AU em gg SE br er, O ac m F e or OR ba e L en llet div AN te a ers D rta s t e O in he au BA m p di en in en LLE t. na ce T, cle s of

Sta Pro ge S du et & cti on

ol ho Sc et rams g

ll Ba

E AT

EN

Fi Th tnes ro s Da ug nc h e

, Pro ET by LL BA ued s DO pur est. b AN e RL n b the F O e ca by E O tic ted c US pra rfec e CA a BE t as nd p lle , a ba all

Artistic Direction

Teach ers Dance & s

UC

hy ap r g eo ic or Mus h C &

HOW?

mes Costu

ED

TE

The Story Compass serves as the foundation for all communication, and provides direction for all strategic and operational decisions moving forward.

BENEFIT #2

N

A

I

STORY COMPASS

W HO

?

E

#1 BE

NE

FI

T

an l pl oo ar ch ye S 5- the r fo

BECAUSE OF ORLANDO BALLET, our community and the world recognizes Orlando as the home for brilliantly bold ballet.

Ma rke ting

Recruiting the right teachers

new ng orth i g n Bri s to N a w c o h s Ameri

#3 HO

W

co Na nt rra e t wo mp ive, rk ora s. ry

N BE

T FI

Wor k Ma shops s t e rclas & ses

onal Seas ws Sho

We invigorate the art of ballet, bringing new takes to timeless classics and opening eyes to this inspiring and imaginative world.

?

ENRICH

VOICE & MESSAGING • STORY COMPASS 9

BR AND VOICE

Our Brand Voice tells our story in a way that energizes and educates our audience. It reinforces that Orlando Ballet creates special, highquality experiences that you can’t wait to be part of.

EVOCATIVE Orlando Ballet inspires all and brings a magical imagination factor to everything we do.

PRECISE Orlando Ballet makes our points in clear and compelling language.

INVITING Orlando Ballet is approachable and welcomes everyone to experience ballet as an art and a practice.

BOLD Orlando Ballet brings a fresh, forward-thinking approach to ballet.

ALIVE Orlando Ballet is passionate and energetic, creating eye-catching language that leaps off the page.

VOICE & MESSAGING • BR AND VOICE 10

POWERFUL POSITIONING

Powerful and compelling, these positioning statements can be used to help people quickly understand who we are, and the scope of what we do.

POSITIONING STATEMENT #1

Orlando Ballet is Central Florida’s only professional ballet company. Our dazzling productions shine at the iconic Steinmetz Hall at Dr. Phillips Center and Harriett’s Orlando Ballet Centre.

POSITIONING STATEMENT #2

Orlando Ballet School shapes the next generation of dancers with superior training, international faculty and a proven path to the professional stage, all supported by a commitment to access and excellence.

POSITIONING STATEMENT #3

Orlando Ballet believes ballet belongs to everyone.

We welcoming all who wish to dance for fun, fitness and friendship.

VOICE & MESSAGING • POWERFUL POSITIONING 11

CRITICAL POINTS & PRIORITIES

What does our audience need to understand about who we are?

These are the foundational points you should keep in mind every time you talk about our brand.

ORL ANDO BALLET OPEN ARMS AND EYES TO THE INSPIRING, IMAGINATIVE WORLD OF BALLET. We’re changing how people perceive ballet in Orlando and across North America by bringing new takes to timeless classics.

WE INVIGOR ATE THE ART OF BALLET. Each experience offers clear storytelling, bold choreography, exciting music and high-level production that appeals to a broad audience, not just people who enjoy the ballet.

ELITE QUALIT Y MEETS COMMUNIT Y-WIDE ACCESSIBILIT Y. Orlando Ballet performers and performances are fit for the world’s greatest stages and welcome all walks of life.

VOICE & MESSAGING • CRITICAL POINTS & PRIORITIES 12

EXAMPLES: VOICE

These examples can be used as a tool to optimize our current messaging and maintain a consistent tone for future projects.

ORL ANDO BALLET VOICE

Step into a world of holiday wonder with The Nutcracker. Featuring breathtaking battles, glittering snow and Clara’s magical journey, this cherished tradition returns with soaring choreography and larger-than-life sets.

NOT ORL ANDO BALLET VOICE

Prepare to be amazed! Immerse yourself in an unparalleled, worldclass experience where a fantasy world bursts to life through the eyes of Clara and her incredible Nutcracker prince.

ORL ANDO BALLET VOICE

Under the direction of Christopher Alloways-Ramsey, Orlando Ballet School is led by renowned instructors and considered one of the best training academies in the world.

NOT ORL ANDO BALLET VOICE

Orlando Ballet School is committed to the education of students with training programs for a range of levels. Through this commitment, the Orlando Ballet School is regarded as one of the most elite training academies in the world. Catering to all dancing levels, Fitness Thru Dance focuses on movement and artistry while our pre-primary, primary, and Academy levels follow a more comprehensive curriculum.

VOICE & MESSAGING • COPY EXAMPLES • VOICE 13

EXAMPLES: HEADLINES & TAGLINES

ORL ANDO BALLET VOICE

These examples can be used as a tool to optimize our current messaging and maintain a consistent tone for future projects.

ABOUT ORL ANDO BALLET

WE INVIGOR ATE THE ART OF BALLET. ELEGANTLY AUDACIOUS. BOLDLY BALLET.

ORL ANDO BALLET VOICE

PERFORMANCES

STUNNING STORY TELLING. UNFORGET TABLE ENTERTAINMENT. EXPERIENCE THE BEST OF BALLET, AT THE BEST VALUE.

ORL ANDO BALLET VOICE

ORL ANDO BALLET SCHOOL

R AISE THE BARRE. MAKE YOUR PASSION YOUR PROFESSION.

ORL ANDO BALLET VOICE

DONORS

PL AY A PART IN ELEVATING OUR ART. YOUR GIF T BRINGS STORIES TO LIFE.

VOICE & MESSAGING • COPY EXAMPLES • HEADLINES & TAGLINES 14

EXAMPLES: DESCRIPTION

ORL ANDO BALLET VOICE

These examples can be used as a tool to optimize our current messaging and maintain a consistent tone for future projects.

ELEGANTLY AUDACIOUS. BOLDLY BALLET. Orlando Ballet entertains, educates and enriches through the highest quality of dance. Founded in 1974, Orlando Ballet is Central Florida’s only fully residential professional ballet company, producing bold main stage performances year-round at the iconic Steinmetz Hall in the Dr. Phillips Center for the Performing Arts. From timeless classics to groundbreaking world premieres, Orlando Ballet invigorates the art of ballet and brings exceptional power, precision and passion to every performance.

Beyond the stage, Orlando Ballet invests in the future of dance through transformative community enrichment programs as well as ABT®-certified and European methodology training at Orlando Ballet School, located at Harriett’s Orlando Ballet Centre. We also support emerging talent through Orlando Ballet II, a pre-professional company that helps dancers transition into their careers.

VOICE & MESSAGING • COPY EXAMPLES • DESCRIPTION 15

SECTION 4

Visual Identity A consistent visual style elevates the Orlando Ballet brand and solidifies our reputation in the community.

In all visual communication we strive for a luxurious, sophisticated, and elevated look.

VISUAL IDENTIT Y

16

PRIMARY LOGO

A customized serif is used to denote a sense of history and elegance.

Subtle arches in the “A” add motion. Wide letter forms give a sense of stability and balance.

VISUAL IDENTIT Y • PRIMARY LOGO 17

LOGO VARIATIONS

The primary logo includes variations that are to be used when the context calls for them. Rather than hard-and-fast rules, below are general principles for when to use each variation.

LOGO - PRIMARY The primary logo is the preferred logo to use in most instances.

Especially when simplicity and elegance is required.

LOGO - TAGLINE Use in high-level marketing applications where the tagline is needed to highlight the overarching mission of Orlando Ballet.

LOGO - JORDEN MORRIS For use in media related to shows where the artistic director requires credit.

LOGO - FR AMED Use in applications where contrast is needed between content and logo.

This version can especially be useful when the background of the logo placement is busy.

VISUAL IDENTIT Y • LOGO VARIATIONS 18

ALL LOGOS

Various logo files have been made depending on the media (print, web, packaging, embroidery, etc.). Use the horizontal variations when the space requires it. See folder for all logo files.

PRIMARY STACKED

TAGLINE STACKED

JORDEN MORRIS STACKED

FR AMED

PRIMARY HORIZONTAL

TAGLINE HORIZONTAL

JORDEN MORRIS HORIZONTAL

FR AMED HORIZONTAL

VISUAL IDENTIT Y • ALL LOGOS 19

LOGO USAGE

It is important that the logo be used consistently and in harmony with the below guidelines.

DO NOT CREATE NEW VARIATIONS OF THE LOGO Only use existing variations. Creating new logos cheapens the brand value and causes confusion among our audience.

DO NOT SCALE INDIVIDUAL LOGO ELEMENTS The lockup of the logo should always remain the same. Do not scale one element apart from another.

DO NOT WARP OR ROTATE LOGO Never distort the logo.

DO NOT ALTER LOGO COLOR The logo should never be used in unapproved colors. This includes brand secondary or tertiary colors.

Never add a stroke to the logo.

DO NOT USE MONOGR AM Do not shorten the logo to “OB” or use the monogram in any external communication or creative.

VISUAL IDENTIT Y • LOGO USAGE 20

LOGO USAGE

It is important that the logo be used consistently and in harmony with the below guidelines.

CLEARSPACE Always allow plenty of blank space around the logo. Give it room to breathe! Generally, the size of the capital “O” in Orlando is enough.

SIZE (BIGGER IS NOT ALWAYS BET TER) Resist the urge to enlarge the logo to “fill the space”. If the logo is too large, it can begin to look amateur.

A smaller logo, with more breathing room, looks more premium.

CONTR AST Always allow sufficient contrast between background color and logo.

If background becomes dark, use the White Curtain version of the logo.

VISUAL IDENTIT Y • LOGO USAGE 21

T YPOGR APHY

Good typography can make designs more visually appealing, easier to read, and provide consistency across the brand. Use only the approved fonts in all visual communication.

PRIMARY BR AND FONT

Transat Text

Transat Text Standard Transat Text Medium Transat Text Bold Transat Text Black

HEADLINES - PRIMARY Transat Text Bold Tracking: 80pt

HEADLINES - ALTERNATE Erstoria *Use Erstoria sparingly. Transat Text Bold should be used as the primary Headline font.

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.

TR ANSAT TEXT BOLD ALL CAPS TR ACKING 80

Erstoria ABCDEFGHIJKLMNOPQRSTUV abcdefghijklmnopqrstuv 0123456789

VISUAL IDENTIT Y • T YPOGR APHY 22

T YPOGR APHY EXAMPLES

NO MORE THAN T WO FONTS USED TOGETHER Primary Orlando Ballet brand materials can use Erstoria paired with Transat Text. Never use more than two fonts.

The following are general principles to follow when choosing and pairing fonts.

Some Headlines Are Title Case Erstoria SUBHEADINGS ARE TR ANSAT TEXT BOLD. Body copy is Transat Text Standard. Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.

CALLOUTS AND SPECIAL TEXT CAN BE ALL CAPS TR ANSAT TEXT BOLD, TR ACKING SET TO 80

DO NOT OVER-USE ERSTORIA Erstoria can become overwhelming and difficult to read if it is used too much or at small sizes.

A Special Headline Can Be Set in Erstoria BUT DO NOT USE ERSTORIA REPEATEDLY Never use Erstoria for body copy. Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.

DO NOT USE ERSTORIA IN SMALL SIZES

VISUAL IDENTIT Y • T YPOGR APHY EXAMPLES

23

COLOR

Consistent use of brand colors boosts recognition and contributes to the brand personality. The following brand colors for Orlando Ballet contribute to its elevated look and feel.

PRIMARY COLORS Warm beiges and “almost” black bring a sophisticated and luxurious feel to the Orlando Ballet brand.

All main brand applications should stick with these neutral colors and may incorporate one secondary color as-needed.

PIANO BL ACK

CMYK 0-0-0-90

RGB 26-26-26

WHITE CURTAIN

HEX #1A1A1A

CMYK 0-2-3-3

IVORY

CMYK 0-4-7-7

RGB 236-226-217

RGB 247-243-240

HEX #F7F3F0

TERRE BEIGE

HEX #ECE2D9

CMYK 0-3-6-31

RGB 175-167-160

HEX #AFA7A0

SECONDARY COLORS A variety of rich secondary colors bring versatility while maintaining an elevated tone.

AUBERGINE

CMYK 3-6-0-84

Aubergine should be the most frequently-used secondary color.

Show palettes can be created using any of these secondary colors.

RGB 33-25-40

BLUE HERON

HEX #211928

CMYK 11-1-0-47

OLD GOLD

CMYK 0-7-22-49

RGB 129-111-72

TERTIARY COLORS These colors are used very sparingly.

They are used to call attention to special items or calls-to-action.

Tertiary colors can be used to build color palettes for shows and other sub-brands. Very rarely should more than one tertiary be used in the same color palette.

VISUAL IDENTIT Y • COLOR

RGB 43-64-83

HEX #816F48

CMYK 0-18-16-52

RGB 187-82-88

HEX #2B4053

CMYK 12-0-1-74

HEX #BB5258

CMYK 20-1-0-29

RGB 186-127-47

RGB 242-209-147

HEX #BA7F2F

CMYK 23-16-0-44

HEX #F2D193

CMYK 8-11-0-28

RGB 110-163-141

HEX #244340

RGB 128-178-180

HEX #80B2B4

RGB 85-102-143

HEX #55668F

L AVENDER

SEA GREEN

CMYK 21-0-9-36

RGB 36-67-64

VIOLET

SUNSHINE

CMYK 0-13-37-5

HEX #7B4C52

TEAL

STEINMETZ GOLD

CMYK 0-23-55-27

RGB 123-76-82

OLD OAK GREEN

ROUGE

CMYK 0-41-39-27

HEX #6D8688

GARDEN ROSE

FORMOSA BLUE

CMYK 16-7-0-67

RGB 109-134-136

RGB 164-156-84

HEX #A49CB8

POINTE PINK

HEX #6EA38D

CMYK 0-13-17-8

RGB 234-202-191

HEX #EACABF

24

COLOR EXAMPLES

The following are examples of proper and improper use of the Orlando Ballet color palette.

USE PRIMARY COLORS WITH ONE SECONDARY COLOR AS AN ACCENT In these examples, the primary colors are white curtain, piano black, ivory and terre beige.

Old gold is incorporated sparingly to draw attention to the website.

DO NOT USE UNAPPROVED, OR TOO MANY, COLORS In this bad example, the letterhead is on bright white paper. Too many secondary colors are being used together.

Tertiary colors should almost never be used in media related to the primary Orlando Ballet brand.

VISUAL IDENTIT Y • COLOR EXAMPLES

25

CANDID BALLET The primary principle for photography is “ballet first”. Candid photography should never look casual. It should always feel PHOTOGR APHY “premium” and evoke a sense of luxury and elegance.

AS SHOT

COLOR CORRECTED & RETOUCHED

At time lighting will come from multiple sources (A).

Contrast might be too high (B). Shadows might be too dark (C). Extra arms or studio items might distract from the subject (D).

Shadows and low-lights lightened (E). Skin-tones preserved and evened out (F). Unnecessary items removed from the background. Depth of field effect added (G). Floor texture softened/blurred (H). Color grading adds warmth and subtle pink hues (I).

G

A B

F D

C

D

B

E G

I B

D E

VISUAL IDENTIT Y • CANDID BALLET PHOTOGR APHY

26

AS SHOT

COLOR CORRECTED & RETOUCHED D

I E

C

H

G

F C

E

H

G

F

C

D

E

H

VISUAL IDENTIT Y • CANDID BALLET PHOTOGR APHY

27

STUDIO PHOTOGR APHY

The primary principle for photography is “ballet first”. Brand photography should always highlight the dancer and the perfection of their form.

LIGHTING Studio lighting should always highlight the dancer and properly illuminate their faces.

RETOUCHING Even out skin tones and be sure dancer’s faces and limbs are well lit.

Remove blemishes. Remove wrinkles and scuff marks in the studio backdrop before generating more background.

BACKGROUND Use generative fill to add in more background to photos. Do not add in textures or overlays.

COLOR Add a color overlay to the background using a primary or secondary color. Very rarely use a tertiary color overlay. Find a blending mode and make custom edits to ensure the color tone is rich, elegant and as close a match as possible to an approved brand color.

VISUAL IDENTIT Y • STUDIO SHOW PHOTOGR APHY

28

SELECTIONS Spend extra time and care in making selections of the subject to ensure there is no color bleed and that the final photo does not look “choppy”.

CROPPING Very rarely crop out arms, legs, hands, etc. At time is acceptable if the final media requires it and if the pose is more “character” focused and less “dance” focused.

VISUAL IDENTIT Y • STUDIO SHOW PHOTOGR APHY

29

PHOTOGR APHY CREDIT

Photography credit must be included anywhere photography is used. The following guidelines dictate how to include this credit in all media.

CONTENT The approved order is: (Photographer Name) • (Dancer Name) • (Dancer Name) • Always include two spaces in-between bullet points.

• List female dancers first, followed by males (left to right) • Always doublecheck spelling.

• Always make text ALL CAPS (see below) FONT Transat Text Bold All Caps Tracking: 80 EXAMPLE: ISR AEL ZAVALETA ESCOBEDO PHOTOGR APHY DANCER NAME

PL ACEMENT Photography credit should be placed on top of the photo either in the bottom left corner, or bottom centered. Exceptions are acceptable depending on the context.

ISR AEL ZAVALETA ESCOBEDO PHOTOGR APHY • DANCER NAME

Ensure the credit will not get cropped out in final product.

COLOR Type color should be White Curtain. Start with an opacity of 40% and adjust as necessary so that the credit is readable but not prominent.

On light color backgrounds use Terre Beige and adjust opacity accordingly.

ISR AEL ZAVALETA ESCOBEDO PHOTOGR APHY • DANCER NAME • DANCER NAME

VISUAL IDENTIT Y • PHOTOGR APHY CREDIT

30

NEGATIVE SPACE

Negative space is the area of a page or design that is empty or has no content, such as the space between text, images, or graphics. It is an important design element that can help content stand out and make it easier to read.

BAD EXAMPLE

GOOD EXAMPLE

In this poster and billboard design, the text and logo are too large and crowded together. This results in a design that looks cluttered and cheap.

Here, a generous amount of negative space is given around each element. This allows for breathing room and makes it easier to read and find information. Type is still at a size that is easily read from a distance. The result is more elevated and premium.

VISUAL IDENTIT Y • NEGATIVE SPACE

31

SECTION 5

Show Branding Season creative and mainstage productions tend toward the more expressive, and colorful, of the brand spectrum.

However great care should be taken to keep show marketing material and design cohesive with each other and the Orlando Ballet brand as a whole.

SHOW BR ANDING

32

BUILDING A COLOR PALET TE

A color palette is created and used for each show, every season.

These palettes should stand out from each other. Use primarily secondary colors and incorporate tertiary colors as an accent.

Examples below.

ROMEO & JULIET One primary, two secondary, one tertiary (used sparingly).

WHITE CURTAIN

GARDEN ROSE

FORMOSA BLUE

ROUGE

PETER PAN One primary, two secondary, one tertiary (used sparingly).

WHITE CURTAIN

OLD OAK GREEN

AUBERGINE

SEA GREEN

UNCORKED Two primary, one secondary, one tertiary (used sparingly).

TERRE BEIGE

PIANO BL ACK

OLD GOLD

POINTE PINK

SHOW BR ANDING • BUILDING A COLOR PALET TE 33

SHOW T YPOGR APHY

Good typography can make designs more visually appealing, easier to read, and provide consistency across the brand. Use only the approved fonts in all visual communication.

PRIMARY BR AND FONT

Transat Text

Transat Text Standard Transat Text Medium Transat Text Bold Transat Text Black

SHOW-SPECIFIC HEADLINES

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.

QUIRINO

Quirino (All Caps)

ABCDEFGHIJKLMNOP 0123456789

MODERN/SMALL STAGE SHOW HEADLINES

UNCORKED TR ANSAT TEXT BOLD

Transat Text Bold Shows like Uncorked and others held on a smaller stage can use Transat Text Bold

SHOW BR ANDING • SHOW T YPOGR APHY 34

T YPOGR APHY EXAMPLES

USE QUIRINO PAIRED WITH TR ANSAT TEXT FOR SHOW-SPECIFIC MATERIALS

The following are general principles to follow when choosing and pairing fonts.

SHOW-SPECIFIC HEADLINES ARE IN QUIRINO ALL CAPS Show-specific body copy is Transat Text Standard. Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.

NEVER PAIR QUIRINO WITH ERSTORIA NEVER USE ERSTORIA WHEN PROMOTING SHOWS

QUIRINO & ERSTORIA

ARE NEVER USED TOGETHER

SHOW BR ANDING • SHOW T YPOGR APHY EXAMPLES 35

SHOW TITLES

CREATING SHOW TITLES Quirino (All Caps) Tracking: 40 Kerning: Optical (Manually adjust kerning so letters are evenly spaced) Leading: 75% of type size

HEADLINES ON AN ARCH When displaying show headlines on an arch, always set type on a perfect circle. Ensure that the type is not on an oval or distorted in any way.

Good typography can make designs more visually appealing, easier to read, and provide consistency across the brand. Use only the approved fonts in all visual communication.

PETER PAN PETER PAN R P E A T N E P

Tracking should be slightly decreased to ensure letter-spacing looks correct.

SHOW BR ANDING • SHOW TITLES 36

SHOW TITLES & DATES

Consistent typesetting of dates and date ranges should be followed as outlined below. Reference the examples below to see how dates and show titles can be paired.

SHOW TITLES PAIRED WITH DATES If dates are paired closely with the show title, or part of a unit, the dates should always be in Transat Text Bold, tracking set to 80.

• All Caps • Three-letter abbreviation • No period • En-dash (–) with no spaces separating dates

PETER PAN GISELLE FEB

20–22

MAY

1–4

DATE R ANGE STANDARD Always use show dates in the following format: • All Caps • Three-letter abbreviation • No period

FEB 20-22

• En-dash (–) with no spaces separating dates

DATES APART FROM SHOW TITLES If dates are separated from the show title, it may be set in Quirino All Caps, tracking set to 40.

SHOW BR ANDING • SHOW TITLES & DATES 37

SECTION 6

Acknowledgments & Sponsorships

ACKNOWLEDGMENTS & SPONSORSHIPS

LIVE MUSIC

Select shows have live music accompaniment. For such shows, follow the direction outlined below.

LIVE MUSIC ACKNOWLEDGMENT

EXAMPLES:

When shows include live music, all printed marketing materials should include the following wording, when possible:

APR 30 – MAY 3 DR. PHILLIPS CENTER • STEINMETZ HALL

LIVE MUSIC FROM THE ORL ANDO PHILHARMONIC ORCHESTR A

ACCOMPANIED BY THE ORL ANDO PHILHARMONIC ORCHESTR A

ISR AEL ZAVALETA ESCOBEDO PHOTOGR APHY • HITOMI NAKAMUR A • JAYSAN STINNET T

FONT Transat Text Bold All Caps Tracking: 80

SHOW POSTERS Dr. Phillips Center should be written and placed above additional sponsor logos.

The bottom of the poster is reserved for additional show sponsor logos and should not be paired with any non sponsor logos.

APR 30 – MAY 3 DR. PHILLIPS CENTER • STEINMETZ HALL ACCOMPANIED BY THE ORL ANDO PHILHARMONIC ORCHESTR A

ADDITIONAL SPONSOR

ISR AEL Z AVALETA ESCOBEDO PHOTOG R APHY • HITOMI NAK AM U R A • JAYSAN STINNET T

ACKNOWLEDGMENTS & SPONSORSHIPS • LIVE MUSIC

39

LEVEL 1 SPONSOR

The wording for sponsor recognition across all media should be consistent. This honors the sponsorship and harmonizes with the agreements made.

(BROUGHT TO YOU BY)

SHOW TITLE ACKNOWLEDGMENT Part of show title lockup.

“BROUGHT TO YOU BY (SPONSOR)” Only one sponsor may be displayed as a full sponsor.

ACKNOWLEDGMENTS & SPONSORSHIPS • LEVEL 1

40

LEVEL 1 SPONSOR EXAMPLES

The wording for sponsor recognition across all media should be consistent. This honors the sponsorship and harmonizes with the agreements made.

POSTER

PRINT AD

DIGITAL AD

Digital Advertising Acknowledgment (in creative, select campaigns) POLE BANNER

R ACK CARD

BILLBOARD

ACKNOWLEDGMENTS & SPONSORSHIPS • LEVEL 1

41

LEVEL 2 SPONSOR

The wording for sponsor recognition across all media should be consistent. This honors the sponsorship and harmonizes with the agreements made.

(SPONSORED BY)

SHOW TITLE ACKNOWLEDGMENT Placed under show title.

“SPONSORED BY (SPONSOR)” Only one sponsor may be displayed under the show title per show.

SPONSORED BY

SPONSORED BY

SPONSORED BY

ACKNOWLEDGMENTS & SPONSORSHIPS • LEVEL 2

42

LEVEL 2 SPONSOR EXAMPLES

The wording for sponsor recognition across all media should be consistent. This honors the sponsorship and harmonizes with the agreements made.

POSTER

PRINT AD

DIGITAL AD

Digital Advertising Acknowledgment (in copy only, select campaigns)

POLE BANNER

R ACK CARD

BILLBOARD

Sponsor included at bottom due to visibility and layout constraints.

Sponsor not included in billboards due to visibility and word-count constraints.

ACKNOWLEDGMENTS & SPONSORSHIPS • LEVEL 2

43

LEVEL 3 SPONSOR

The wording for sponsor recognition across all media should be consistent. This honors the sponsorship and harmonizes with the agreements made.

(SPONSORED IN PART BY)

SHOW TITLE ACKNOWLEDGMENT Placed under show title.

“SPONSORED IN PART BY (SPONSOR)” Only one sponsor may be displayed under the show title per show.

SPONSORED IN PART BY

SPONSORED IN PART BY

SPONSORED IN PART BY

ACKNOWLEDGMENTS & SPONSORSHIPS • LEVEL 3

44

LEVEL 3 SPONSOR EXAMPLES

The wording for sponsor recognition across all media should be consistent. This honors the sponsorship and harmonizes with the agreements made.

POSTER

PRINT AD

DIGITAL AD

Digital Advertising Acknowledgment (in copy only, select campaigns)

APR 30 – MAY 3 DR. PHILLIPS CENTER • STEINMETZ HALL ACCOMPANIED BY THE ORL ANDO PHILHARMONIC ORCHESTR A

ADDITIONAL SPONSOR

ISR AEL Z AVALETA ESCOBEDO PHOTOG R APHY • HITOMI NAK AM U R A • JAYSAN STINNET T

POLE BANNER

R ACK CARD GET $5 OFF WITH CODE: SAVE

APR 30 – MAY 3 DR. PHILLIPS CENTER • STEINMETZ HALL ACCOMPANIED BY THE ORL ANDO PHILHARMONIC ORCHESTRA

ISR AEL ZAVALETA ESCOBEDO PHOTOGR APHY • HITOMI NAKAMUR A • JAYSAN STINNET T

BILLBOARD

Sponsor included at bottom due to visibility and layout constraints.

Sponsor not included in billboards due to visibility and word-count constraints.

ACKNOWLEDGMENTS & SPONSORSHIPS • LEVEL 3

45

LEVEL 4 SPONSOR

The wording for sponsor recognition across all media should be consistent. This honors the sponsorship and harmonizes with the agreements made.

(ADDITIONAL SPONSOR)

SHOW TITLE ACKNOWLEDGMENT Not included at this level

ACKNOWLEDGMENTS & SPONSORSHIPS • LEVEL 4

46

LEVEL 4 SPONSOR EXAMPLES

The wording for sponsor recognition across all media should be consistent. This honors the sponsorship and harmonizes with the agreements made.

POSTER

PRINT AD

R ACK CARD

ACKNOWLEDGMENTS & SPONSORSHIPS • LEVEL 4

47

SECTION 7

EVENTS

EVENTS

THE BALLET BALL

Various logos have been created depending on the intended use.

PRESENTS

PRIMARY STACKED

THE BALLET BALL

THE BALLET BALL

PRESENTS

PRESENTS

A BL ACK & WHITE AFFAIR

PRIMARY HORIZONTAL

THE BALLET BALL A BL ACK & WHITE AFFAIR

STACKED LEF T

THE BALLET BALL A BL ACK & WHITE AFFAIR

PRESENTS

A BL ACK & WHITE AFFAIR

A BL ACK & WHITE AFFAIR

THE BALLET BALL

THE BALLET BALL A BL ACK & WHITE AFFAIR

EVENTS • BALLET BALL

A BL ACK & WHITE AFFAIR

PRESENTS

PRESENTS

STACKED RIGHT

PRESENTS

THE BALLET BALL

PRESENTS

THE BALLET BALL A BL ACK & WHITE AFFAIR

49

SIGNATURE EVENT SERIES

Various logos have been created depending on the intended use.

PRESENTS

SIGNAT URE EVENT SERIES AT THE BARRE • OPEN REHERSAL • BEFORE THE CURTAIN

PRIMARY HORIZONTAL

STACKED LEF T

SIGNATURE EVENT SERIES

SIGNAT URE EVENT SERIES

AT THE BARRE • OPEN REHERSAL • BEFORE THE CURTAIN

AT THE BARRE • OPEN REHERSAL • BEFORE THE CURTAIN

SIGNATURE EVENT SERIES AT THE BARRE • OPEN REHERSAL • BEFORE THE CURTAIN

STACKED RIGHT

SIGNATURE EVENT SERIES AT THE BARRE • OPEN REHERSAL • BEFORE THE CURTAIN

EVENTS • SIGNATURE EVENT SERIES

50

AT THE BARRE

PRIMARY HORIZONTAL

Various logos have been created depending on the intended use.

AT THE BARRE ORLANDO BALLET

STACKED LEF T

AT THE BARRE ORLANDO BALLET

AT THE BARRE ORLANDO BALLET

STACKED RIGHT

AT THE BARRE

ORLANDO BALLET

EVENTS • AT THE BARRE

51

OPEN REHERSAL

PRIMARY HORIZONTAL

Various logos have been created depending on the intended use.

OPEN REHERSAL ORLANDO BALLET

STACKED LEF T

OPEN REHERSAL ORLANDO BALLET

OPEN REHERSAL ORLANDO BALLET

STACKED RIGHT

OPEN REHERSAL

ORLANDO BALLET

EVENTS • OPEN REHERSAL

52

BEFORE THE CURTAIN

PRIMARY HORIZONTAL

Various logos have been created depending on the intended use.

BEFORE THE CURTAIN ORLANDO BALLET

STACKED LEF T

BEFORE THE CURTAIN ORLANDO BALLET

BEFORE THE CURTAIN ORLANDO BALLET

STACKED RIGHT

BEFORE THE CURTAIN

ORLANDO BALLET

EVENTS • BEFORE THE CURTAIN

53

COLOR

Consistent use of brand colors boosts recognition and contributes to the brand personality. The following brand colors for Orlando Ballet Events contribute to its elevated look and feel.

PRIMARY COLORS Warm beiges and “almost” black bring a sophisticated and luxurious feel to the Orlando Ballet Events brand.

PIANO BL ACK

CMYK 0-0-0-90

RGB 26-26-26

WHITE CURTAIN

HEX #1A1A1A

CMYK 0-2-3-3

RGB 247-243-240

HEX #F7F3F0

All main brand applications should stick with these neutral colors.

IVORY

CMYK 0-4-7-7

VISUAL IDENTIT Y • COLOR

RGB 236-226-217

TERRE BEIGE

HEX #ECE2D9

CMYK 0-3-6-31

RGB 175-167-160

HEX #AFA7A0

54

T YPOGR APHY

Good typography can make designs more visually appealing, easier to read, and provide consistency across the brand. Use only the approved fonts in all visual communication.

PRIMARY BR AND FONT

Transat Text

Transat Text Standard Transat Text Medium Transat Text Bold Transat Text Black

HEADLINES - PRIMARY Transat Text Bold Tracking: 80pt

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.

TR ANSAT TEXT BOLD ALL CAPS TR ACKING 80

VISUAL IDENTIT Y • T YPOGR APHY 55

SECTION 8

Orlando Ballet School Branding The Orlando Ballet School does not depart greatly from the primary brand. It gets a distinct logo and a restricted color system to help differentiate it when needed.

Ultimately, the school and company are one. The school brand tends toward functionality, and highlighting the skill and expertise of the students, instructors and staff.

ORL ANDO BALLET SCHOOL

56

SCHOOL LOGO

The Orlando Ballet School logo is a simple variation of the primary logo.

ORL ANDO BALLET SCHOOL • SCHOOL LOGO 57

SCHOOL LOGO VARIATIONS

The logo variations for Orlando Ballet School.

SCHOOL LOGO - STACKED

SCHOOL LOGO - HORIZONTAL

SCHOOL LOGO - STACKED WHITE CURTAIN

SCHOOL LOGO - HORIZONTAL WHITE CURTAIN

ORL ANDO BALLET SCHOOL • SCHOOL LOGO VARIATIONS 58

SCHOOL COLOR PALET TE

Consistent use of brand colors boosts recognition and contributes to the brand personality. The following brand colors for Orlando Ballet School contribute to its elevated look and feel.

PRIMARY COLORS The same primary colors are used for Orlando Ballet and Orlando Ballet School. The School palette leans much more heavily into the light neutrals.

WHITE CURTAIN

CMYK 0-2-3-3

All School brand applications should gravitate toward these light neutrals and may incorporate one accent color as-needed.

RGB 247-243-240

HEX #F7F3F0

IVORY

CMYK 0-4-7-7

RGB 236-226-217

TERRE BEIGE

HEX #ECE2D9

CMYK 0-3-6-31

RGB 175-167-160

HEX #AFA7A0

PIANO BL ACK

CMYK 0-0-0-90

ACCENT COLORS Several main brand colors are dropped from the color palette and are to be reserved for the primary Orlando Ballet brand only.

These accent colors are to be used sparingly and primarily to differentiate the various School programs.

Endeavor to use only one accent color at a time, paired with the primary neutral color palette.

RGB 26-26-26

HEX #1A1A1A

FORMOSA BLUE

GARDEN ROSE

CMYK 0-18-16-52

RGB 123-76-82

HEX #7B4C52

CMYK 16-7-0-67

HEX #BB5258

CMYK 11-1-0-47

RGB 187-82-88

RGB 186-127-47

HEX #BA7F2F

CMYK 20-1-0-29

HEX #F2D193

CMYK 23-16-0-44

RGB 242-209-147

RGB 110-163-141

ORL ANDO BALLET SCHOOL • COLOR PALET TE

RGB 128-178-180

HEX #80B2B4

RGB 85-102-143

HEX #55668F

L AVENDER

SEA GREEN

CMYK 21-0-9-36

HEX #6D8688

VIOLET

SUNSHINE

CMYK 0-13-37-5

RGB 109-134-136 TEAL

STEINMETZ GOLD

CMYK 0-23-55-27

HEX #2B4053

BLUE HERON

ROUGE

CMYK 0-41-39-27

RGB 43-64-83

HEX #6EA38D

CMYK 8-11-0-28

RGB 164-156-84

HEX #A49CB8

59

SCHOOL T YPOGR APHY

Good typography can make designs more visually appealing, easier to read, and provide consistency across the brand. Use only the approved fonts in all visual communication.

PRIMARY BR AND FONT

Transat Text

Transat Text Standard Transat Text Medium Transat Text Bold Transat Text Black

HEADLINES - PRIMARY Transat Text Bold Tracking: 80pt

DO NOT USE ERSTORIA FOR ORL ANDO BALLET SCHOOL

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.

TR ANSAT TEXT BOLD ALL CAPS TR ACKING 80

Erstoria ABCDEFGHIJKLMNOPQRSTUV abcdefghijklmnopqrstuv 0123456789

ORL ANDO BALLET SCHOOL • T YPOGR APHY 60

SCHOOL T YPOGR APHY EXAMPLES

BOLDER USE OF TR ANSAT Orlando Ballet School brand materials use Transat Text Bold exclusively in headlines.

Stacking headlines is part of the design elements as it creates negative space and gives a luxury feel.

The following are general principles to follow when choosing and pairing fonts for Orlando Ballet School.

HEADINGS ARE TR ANSAT TEXT BOLD STACKED LIKE THIS. Body copy is Transat Text Standard. Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua.

CALLOUTS AND SPECIAL TEXT CAN BE ALL CAPS TR ANSAT TEXT BOLD, TR ACKING SET TO 80

ORL ANDO BALLET SCHOOL • T YPOGR APHY EXAMPLES

61

PHOTOGR APHY PRINCIPLES

The following principles should guide the photography choices for the Orlando Ballet School.

LIGHTING Use natural lighting whenever possible. The look should be light, bright and crisp.

RETOUCHING Eliminate imperfections in the subjects and backgrounds. Remove blemishes and items in the studio that detract from the “clean look”. (i.e. fire alarms, scuffs, electrical panels)

BACKGROUND Ensure the background is clean and devoid of distracting elements.

Do not shoot too many subjects “layered” on top of each other.

STUDIO PHOTOGR APHY Edit studio shots so that background is bright, neutral, and highlights the perfect form of the dancers.

Keep use of studio photography for Orlando Ballet School very limited

ORL ANDO BALLET SCHOOL • PHOTOGR APHY PRINCIPLES

62

PHOTOGR APHY PRINCIPLES (CONTINUED) DO’S AND DON’ TS

BAD EXAMPLES

1. Avoid overly staged posing and facial expressions 2. Avoid flat, cool lighting and using too many colors 3. Avoid photographs with no focal point or negative space 4. Avoid unflattering positions 5. Convey camaraderie, joy and a sense of community 6. Lighting and mood should lean toward dramatic while staying warm and accessible 7. Use focus and depth of field to hone-in on individuals 8. Shoot in both landscape and portrait orientation and include adequate negative space 9. Dramatic, colored lighting evokes a vibrant and fun atmosphere 10. Find opportunities to capture movement, blur and genuine expressions

ORL ANDO BALLET SCHOOL • PHOTOGR APHY PRINCIPLES

63

PHOTOGR APHY PRINCIPLES

The following principles should guide the photography choices for Fitness Thru Dance.

LIGHTING Use natural lighting whenever possible. The look should be light, bright and crisp.

RETOUCHING Eliminate imperfections in the subjects and backgrounds. Remove blemishes and items in the studio that detract from the “clean look”. (i.e. fire alarms, scuffs, electrical panels)

BACKGROUND Ensure the background is clean and devoid of distracting elements.

Do not shoot too many subjects “layered” on top of each other.

STUDIO PHOTOGR APHY Edit studio shots so that background is bright, neutral, and highlights the perfect form of the dancers.

Keep use of studio photography for Fitness Thru Dancel very limited

ORL ANDO BALLET SCHOOL • PHOTOGR APHY PRINCIPLES

64

PHOTOGR APHY PRINCIPLES (CONTINUED) DO’S AND DON’ TS

BAD EXAMPLES

1. Avoid overly staged posing and facial expressions 2. Avoid flat, cool lighting and using too many colors 3. Avoid photographs with no focal point or negative space 4. Avoid unflattering positions 5. Convey camaraderie, joy and a sense of community 6. Lighting and mood should lean toward dramatic while staying warm and accessible 7. Use focus and depth of field to hone-in on individuals 8. Shoot in both landscape and portrait orientation and include adequate negative space 9. Dramatic, colored lighting evokes a vibrant and fun atmosphere 10. Find opportunities to capture movement, blur and genuine expressions

ORL ANDO BALLET SCHOOL • PHOTOGR APHY PRINCIPLES

65

SCHOOL PROGR AMS

The individual programs offered by Orlando Ballet School each have unique wordmarks and accent colors. Only used approved wording, logos and colors as indicated here.

ORL ANDO BALLET SCHOOL • SCHOOL PROGR AMS

66

PREPAR ATORY TR AINING CENTER

ACCENT COLOR L AVENDER

CMYK 8-11-0-28

WORDMARK - PRIMARY

RGB 164-156-84

HEX #A49CB8

WORDMARK - HORIZONTAL

PHOTOGR APHY EXAMPLES

ORL ANDO BALLET SCHOOL • PREPAR ATORY TR AINING CENTER

67

THE ACADEMY

ACCENT COLOR FORMOSA BLUE

CMYK 16-7-0-67

WORDMARK - PRIMARY

RGB 43-64-83

HEX #2B4053

WORDMARK - HORIZONTAL

PHOTOGR APHY EXAMPLES

ORL ANDO BALLET SCHOOL • THE ACADEMY

68

WORKSHOPS & MASTERCL ASSES

ACCENT COLOR FORMOSA BLUE

CMYK 16-7-0-67

WORDMARK - PRIMARY

RGB 43-64-83

HEX #2B4053

WORDMARK - HORIZONTAL

PHOTOGR APHY EXAMPLES

ORL ANDO BALLET SCHOOL • WORKSHOPS & MASTERCL ASSES

69

SUMMER INTENSIVE

ACCENT COLOR STEINMETZ GOLD

CMYK 0-23-55-27

WORDMARK - PRIMARY

RGB 186-127-47

HEX #BA7F2F

WORDMARK - HORIZONTAL

PHOTOGR APHY EXAMPLES

ORL ANDO BALLET SCHOOL • SUMMER INTENSIVE

70

FITNESS THRU DANCE

ACCENT COLOR CERULEAN

CMYK 84-55-0-0

WORDMARK - PRIMARY

RGB 31-113-193

HEX #1F70C2

WORDMARK - HORIZONTAL

PHOTOGR APHY EXAMPLES

ORL ANDO BALLET SCHOOL • FITNESS THRU DANCE

71

FITNESS THRU DANCE SATELLITE SESSIONS

WORDMARK - PRIMARY

FITNESS THRU DANCE

SATELLITE SESSIONS

ORLANDO BALLET SCHOOL

ACCENT COLOR CERULEAN

CMYK 84-55-0-0

RGB 31-113-193

HEX #1F70C2

WORDMARK - HORIZONTAL

FITNESS THRU DANCE

SATELLITE SESSIONS ORLANDO BALLET SCHOOL

PHOTOGR APHY EXAMPLES

ORL ANDO BALLET SCHOOL • FITNESS THRU DANCE

72

FITNESS THRU DANCE COMMUNIT Y PROGRAM

ACCENT COLOR CERULEAN

CMYK 84-55-0-0

RGB 31-113-193

HEX #1F70C2

WORDMARK - PRIMARY

WORDMARK - HORIZONTAL

FITNESS THRU DANCE

FITNESS THRU DANCE

COMMUNITY PROGRAM

ORLANDO BALLET SCHOOL

COMMUNIT Y PRO G R AM

ORLANDO BALLET SCHOOL

PHOTOGR APHY EXAMPLES

ORL ANDO BALLET SCHOOL • FITNESS THRU DANCE

73

SPRING & SUMMER CAMPS

ACCENT COLOR VIOLET

CMYK 23-16-0-44

WORDMARK - PRIMARY

RGB 85-102-143

HEX #55668F

WORDMARK - HORIZONTAL

PHOTOGR APHY EXAMPLES

ORL ANDO BALLET SCHOOL • SPRING & SUMMER CAMPS

74

COMMUNIT Y PROGR AMS

ACCENT COLOR SEA GREEN

CMYK 21-0-9-36

WORDMARK - PRIMARY

PHOTOGR APHY EXAMPLES

ORL ANDO BALLET SCHOOL • COMMUNIT Y PROGR AMS

RGB 110-163-141

HEX #6EA38D

WORDMARK - HORIZONTAL

PROGR AMS WITHIN COMMUNIT Y PROGR AMS

75

SECTION 9

Putting It All Together When people encounter the Orlando Ballet, our entire brand—from voice, to vibe, to visual—will be elegantly apparent.

PUT TING IT ALL TOGETHER

76

OUR BR AND IN ACTION

PUT TING IT ALL TOGETHER • OUR BR AND IN ACTION

77

BR AND SPECTRUM

The application of the Orlando Ballet brand in the real world begins with determining if the final product needs to be functional or expressive. Most designed pieces will fall somewhere in-between.

R ACK CARDS, BROCHURES

DOCUMENTS, MANUALS, ANNOUNCEMENTS, SIGNAGE

FUNCTIONAL

STATIONERY, BUSINESS CARDS

PRINT ADS

PUT TING IT ALL TOGETHER • BR AND SPECTRUM

78

BR AND SPECTRUM (CONTINUED) DIGITAL MEDIA SHOW PROGR AM COVERS

EXPRESSIVE

POSTERS

POLE BANNERS

PUT TING IT ALL TOGETHER • BR AND SPECTRUM

79