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T AB LE O F CO NT E NT S 5

I N T R O D U CTION

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H I S T O RY

1 0 M I S S I O N S TATE ME NT 12

T H E T O N E OF V OICE

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LOGO

2 2 T YP O G R APHY 28

C O L O R PALE TTE

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B R A N D PATTE R NS

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I M A G E S T Y LE

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S TAT I O N E RY

4 8 C O L L AT E RAL S Y S TE MS

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WEBSITE

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F I N A L T HOUGHTS


PA PER A RT S 3


WE LCO M E On behalf of the Board of Directors and the members of the Paper Arts Museum, we would like to extend a formal welcome to you for joining our community! Here at the Paper Arts Museum, we believe in calling ourselves a ‘community’ instead of an actual place of business. A strong community is a vital aspect to shaping a city and that is exactly what we are doing. Once considered a luxury during ancient civilizations, the art of paper has been lost to the world since the nineteenth century. The idea behind the creation of the Seattle Museum of Paper Arts is to restore interest in paper as an art form by involving the community to experience a new type of learning environment. Located in the heart Seattle, Washington, our community will inspire people of all ages to learn about the many methods paper has and can be used for artistic purposes. Permanent exhibits will focus on ancient civilization techniques and artwork, but smaller, temporary exhibits will feature modern artists who use paper is their method of choice. Not only will visitors be able to see the exhibits, but those who participate in events will be able to see their works temporarily displayed in the main entrance. As you can see, we take our role as community leader very seriously and have dedicated our time to create a brand that reflects us. To help guide your design we have provided a few regulations that must be abide by, but will not hinder your creative process. Thank You!

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O UR HI ST O R Y It all started with a small idea that was formed by our founding Director, Dylan Young. Fascinated by the traditional use of pen and paper, he encouraged himself to attend the Rhode Island School of Design and study History of Art and Visual Culture. While working at various museums after graduating from college, Dylan Young decided to share his love and passion for the paper arts with his community in Seattle, Washington. The Paper Arts Museum opened for the first time in 1999 and has undergone many renovations since then. Today, the Paper Arts Museum is considered to be one of the most successful museums in Washington. Going beyond the idea of a traditional museum, its involvement in the community through various classes and festivals has helped restored interest in the paper arts,

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T HE MI SSI O N To become the country’s leading museum for the history and modern uses of paper arts and to restore an interest in the lost art form. This will be done through various events and competitions in which the winners will have their work temporarily displayed in the main entrance and traveling to local schools to give classes to younger generation. We strive to be the most outstanding member in our community and will always be involved in the growth of our city and people. Our values will inspire others when they visit and provide an experience that the entire family could enjoy.

T HE CO MM UNI T Y Our core members are those who have a strong passion for the arts and the learning of paper as an art form. We have learned that talent and aspiration does not have an age limit and people of all diversities are welcome to learn and grow with us.

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T HE TON E O F VOICE We are a community and we have a voice that will be heard. Our strong values are considered to be the essence of our brand and what we stand for as an entity. Essentially, it is our responsibility to the people to uphold these beliefs and to continue to inspire them. Our brand consists of three impenetrable core values: Exploration, Revival, and Enlightening. Each are capable on their own, but together they create our brand.


EXPL O R AT I O N

R EVI VAL

ENL I G HT ENI NG

PA PER A RT S 1 1


THE LOGO


M A S T ER L OG O

We took great care in the process of designing our logo. The logo itself is physical representation of the three brand values as well as the idea of paper folding itself. Each of the corners has a specific representation: Exploration, Enlightening, Revival, and the use of paper.

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S EC O N D A RY L OG O

A secondary logo was created for any possible size issues that would occur with the primary logo. This simple design could be used when the logo is needed to be placed on very tiny items such as a pen or sunglasses.

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L O GO M A RK

After rediscovering a small pattern in the design process, it was used heavily as an inspiration for the final design. The pattern was flipped, copied, and rotated multiple times before achieving the final shape above. The pattern on the inside was simplified for aesthetic reasons.

L O GO T Y PE

To finish the design, a simple sans-serif typeface with the museum’s name was added. A sans-serif typeface was chosen because of the sleekness and neutral quality that it holds.

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A LT ER N AT I VE S

The only approved alternative uses for the secondary and primary logo. No other colors from the brand color palette are allowed. If the need for a stronger contrast between the image and the logo then white may be used. If the image is lighter then the color black is allowed.

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L O GO T Y PE FAC E M U LT I C O L O R E

ABCDEFGHIJKLMN OPQRSTUVWXYZ 0123456789 The logotype should only be set in Multicolore-Regular with an 100 pt tracking. Unless it pertains to the website, the logo-mark must never be separate from the logotype. See website for further information.

L O GO COL OR

C=50 M=26 Y=40 K=1

R=135 G=161 B=152

Paper Blue Three

C=19 M=45 Y=63 K=1

R=204 G=147 B=106

Paper Red One

The primary logo cannot be used by any colors other than ‘Paper Blue Three’ and ‘Paper Red One’, unless an image or darker color is the provided. Refer to the alternatives for more information.

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S TA GIN G ARE A

A staging area is required for the primary and secondary logo. Any element other than the logo itself is completely forbidden from entering the area at all times. This staging area helps keep the design clean and organized. To help design the safe area, the letter ‘P’ from the logotype has been taken, copied and paste twice, and stacked on top of each other.

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M IN IM U M SI Z E S

1’

.75’

1’

.75’

.25’

The minimum size for the primary logo visibility is .75 inches (height). Anything below that will result in legibility issues for the mark and the typeface. The same goes for the typeface in the secondary logo-mark, but if removed the mark itself can reach to .25 inches before losing visibility.

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T Y PO GR AP H Y


BR A N D T YP E

ABCDEFGHIJKLMN OPQRSTUVWXYZ 0123456789 AV E N I R LT S T D , B O O K

ABCDEFGHIJKLMN OPQRSTUVWXYZ 0123456789 AV E N I R LT S T D , R O M A N

ABCDEFGHIJKLMN OPQRSTUVWXYZ 0123456789 AV E N I R LT S T D , H E AV Y

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ABCDEFGHIJKLMN OPQRSTUVWXYZ 0123456789 AV E N I R LT S T D , B L A C K

ABCDEFGHIJKLMN OPQRSTUVWXYZ 0123456789 CANTER, BOLD

ABCDEFGHIJKLMN OPQRSTUVWXYZ 0123456789 CANTER, BOLD STRIPES

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Throughout the use of the branding system two type families can be used: Canter and Avenir LT STD. For the body copy, only Avenir LT STD with the weight set to either Roman or Book can be used. The weight Heavy is to be used for sub-headers. Regarding the body copy type, if one style is used for an system then the entire system must follow it . For example, if you design a brochure using Roman for the body copy then the entire brochure must have that style for that as well. Canter Bold are to be used for the main headers and quotes. Canter Bold Stripes are only to be used for the ‘You’re Invited’ brochure cover flap. To provide a variety, the quotes using Canter can be accompanied by a custom, clean, and simple experiential typeface that references paper folding or paper techniques. Edges must be smooth and crisp. No extreme jagged edges are allowed. The typeface must either be custom made or licensed from the creator to be used for our system.

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COLORS


BR A N D COL ORS

C=69 M=19 Y=42 K=0

R=95 G=165 B=156

Paper Blue One

C=52 M=41 Y=64 K=15

R=121 G=122 B=97

Paper Green Three

C=20 M=17 Y=34 K=0

R=206 G=198 B=171

Paper Green One

C=19 M=45 Y=63 K=1

R=204 G=147 B=106

Paper Red One

C=50 M=26 Y=40 K=1

R=135 G=161 B=152

Paper Blue Three

C=29 M=40 Y=61 K=3

R=181 G=147 B=110

Paper Brown One

C=57 M=6 Y=30 K=0

R=107 G=188 B=185

Paper Blue Two

C=4 M=5 Y=16 K=0 Paper Grey

R=243 G=235 B=214

C=18 M=11 Y=29 K=0

R=210 G=211 B=185

Paper Green Two

C=40 M=12 Y=34 K=0

R=157 G=191 B=174

Paper Blue Four

The approved colors that were hand chosen to reflect our brand. The colors are a combination of dark, neutral and bright colors that represent the modern and history part of the paper arts. Only these colors can be used and the use of various tints and shades are prohibited.

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PA T TER N S


PAT T ER N S

All patterns are considered original and must come from the original pattern started above. The patterns may include one or two of any of the approved brand colors. Lines must be consistent and the thickness must be the same. Examples can be seen throughout the brand book and system.

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I M AGE R Y


PH O T O GR AP HY STY L E

Images that will be used for design purposes must have a high resolution and must focus on the art itself or a close up of the artist working. If in environmental context, half or three-fourths of the image must be the artwork itself and the prime focus of the image.

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IM A GE PLAC E ME NT

When regarding a single image on an entire page, the image itself must be broken up into rectangle or square shapes that fit into the grid and does not surpass the margins. If the image bleeds through the margins then it must continue on to fill up the next column completely. The thickness of it should not be smaller than the width of the column itself. Spacing between each image section should never be anything less or greater than .125 in.

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IM A GE PLAC E ME NT

Unless the image takes up the entire page, there should not be more than six dividers per page and no less than three. Full page, single images should have more than five but less than ten. Same rules apply when regarding the use of multiple images. The only small difference is that the images must have a similar color feel. Bright images belong with bright images and dark images belong with dark images.

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IM A GE T RE ATME NT

All images being used are required to be altered according to the museum’s brand standards. Images must have a contrast set to +13 and a brightness of +5, and a smart sharpen of 111, radius of 2.0px, and the setting of remove lens blur. This is followed by a color overlay using Paper Reddish One set to soft light at a 100%. No other colors are allowed for this image treatment.

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PA PER A RT S 3 3


ST A TIO N E R Y


L ET T ER H E AD

The for the entire stationery set is set to 1’ height and must be placed in the upper left corner unless it is the mailing label. The body itself must be at least an inch and a half from the left and inch from the bottom of the logo. Must be printed n Mohawk, Strathmore Pure Cotton, 28 LB with a Wove finish.

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BU S IN ES S C ARD

The business cards must be printed on the Mohawk Strathmore Writing 100 LB Cover with a Wove finish.

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M A IL IN G L ABE L

1 2 0 0 4 T H AVE NUE S E AT T L E , WA 98140

The only part of the stationery where the logo does not have to be on the left hand size due to the design, but must be centered below at the bottom. Printed on sticker label paper.

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M A IL IN G E NVE L OP E

Printed on the Mohawk Strathmore Writing 100 LB Cover with a Wove finish.

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PO C KET FOL D E R

Printed on the Mohawk Strathmore Writing 100 LB Cover with a Wove finish. The dimensions are 9x12. The front part of the pocket folder has a flap that wraps around to the back, connects with the eyelet via string to stay closed. The eyelet is .5 inch wide and high. The logo is centered on the right side in the bottom left corner instead of the top left.

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PO C KET FOL D E R

The front cover shown with flap closed.

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PO C KET FOL D E R

The back cover with the flap closed which keeps the folder from coming undone. The string itself is about 1 1/2 inches long and it is tied together in a circle and attached to the eyelet in the inside. It loops around the eyelet on the back for a secure hold.

PA PER A RT S 4 1


PO C KET FOL D E R

The outside of the pocket folder when opened. The half of the flap that is not attached to the pocket folder will fold along the spine and wrap around and connect to the eyelet.

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PO C KET FOL D E R

Inside of the pocket folder when opened. The business card must be placed on the inside of the flap and secured by two slits. The pattern from the front of the flap is repeated on the inside pocket folders. The 1 1/2 inch string will be connected securely to the eyelet on the inside of the flap. When the folder closes and that half of the flap wraps over, it will connect with the eyelet on the back to secure the closing.

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B R OC H U R ES


C O R PO R ATE BROC HUR E

CORPORATE BROCHURE

Sizing is always 8.5x11 with a 17x11 spread. The cover of the brochure must include a close up image of a selected artwork that is either neutral or regards the contents of the brochure, a title to specify the type of brochure, and the logo centered on a banner located in the bottom left. The banner can be any brand color relevant to the imagery and must always be 3 inches wide and 1.5 tall.

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S PR EA D

FILL YOUR PAPER

WI TH TH E B R EATHIN G S

O F YO U R H E AR T ­

—WILLIAM WORDSWORTH

An example of a brochure spread with a quote. Either placed on the left side or the right side. A banner must be used horizontally across the image and set to 80% opacity for legibility. The width always equals the width of the spread and the height is always four inches. The brand color must compliment the image that it is covering.

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S PR EA D

exhibits Once considered a luxury during ancient civilizations, the art of paper has been lost since the nineteenth century. The idea behind the new creation of the Paper Arts Museum is to restore interest in paper as an art form through the various. Located in the heart Seattle, Washington, this museum will inspire the people of all ages to learn about the few methods paper has and can be used for artistic purposes. Permanent exhibits will focus on ancient civilization techniques and artwork, but smaller, temporary exhibits will feature modern artists who use paper is their method of choice.

T EMPORARY Once considered a luxury during ancient civilizations, the art of paper has been lost since the nineteenth century. The idea behind the new creation of the Paper Arts Museum is to restore interest in paper as an art form through the various. Located in the heart Seattle, Washington, this museum will inspire the people of all ages to learn about the few methods paper has and can be used for artistic purposes. Permanent exhibits will focus on ancient civilization techniques and artwork, but smaller, temporary exhibits will feature modern artists who use paper is their method of choice. Not only will visitors be able to see the new exhibits, but those who participate in events will be able to see their works temporarily displayed in the main entrance. Once considered a luxury during ancient civilizations, the art of paper has been lost since the nineteenth century. The idea behind the new creation of the Paper Arts Museum is to restore interest in paper as an art form through the various. Located in the heart Seattle, Washington, this museum will inspire the people of all ages to learn about the few methods paper has and can be used for artistic purposes. Permanent exhibits will focus on ancient civilization techniques and artwork, but smaller, temporary exhibits will feature modern artists who use paper is their method of choice. Not only will visitors be able to see the new exhibits, but those who participate in events will be able to see their works temporarily displayed in the main entrance. Once considered a luxury during ancient civilizations, the art of paper has been lost since the nineteenth century. The idea behind the new creation of the Paper Arts Museum is to restore interest in paper as an art form through the various. Located in the heart Seattle, Washington, this museum will inspire the people of all ages to learn about the few methods

The title for the spread must always be set to the Canter typeface. The body copy should take up three columns. For image placement and style, refer to the imagery section.

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BA C K C O VE R

1200 4th Avenue Seattle, WA 98140 [P] 206.356.9801 [F] 206.356.0078 www.paperartsmusuem.com

The back cover must feature any alternative logo set to the bottom left corner right above the museums contact information. The color of the cover must be the same color as the banner on the front.

PA PE R ARTS 48


V IP EX H IB I TI ON BROC HUR E

EXHIBITION

Sizing is always 7x7 with a 14x7 spread. The cover of the brochure must include a close up image of a selected artwork that is either neutral or regards the contents of the brochure, a title to specify the type of brochure, and the logo centered on a banner located in the bottom left. The banner can be any brand color relevant to the imagery and must always be 3 inches wide and 1.5 tall.

PA PER A RT S 4 9


S PR EA D

UNDER WATER

COVES

A brand pattern reflected in white or one of the brand colors must be either on the right or left side and must not extend past the center gutter. Which ever side is blank must have the information regarding the exhibition must feature the title separate from the body copy and the exhibition dates and must be set in Canter. The remaining side is for the placement of the VIP Ticket. A banner must be used horizontally across the image and set to 80% opacity for legibility. The width always equals the width of the spread and the height is always four inches. The brand color must compliment the image that it is covering.

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You have been cordially invited to the private viewing of our newest exhibit ‘Underwater Coves’ by Amy Eisenfeld Gensler. Explore the coral depths of the ocean using only pieces of paper and acrylic paint.

EXHIBITIONS DATES:

4.18-6.4 You have been cordially invited to the private viewing of our newest exhibit ‘Underwater Coves’ by Amy Eisenfeld Gensler. Explore the coral depths of the ocean using only pieces of paper and acrylic paint.


S PR EA D

amy e. gensler Once considered a luxury during ancient civilizations, the art of paper has been lost since the nineteenth century. The idea behind the creation of the Paper Arts Museum is to restore interest in paper as an art form through the various. Located in the heart Seattle, Washington, this is museum will inspire the people of all ages to learn about the various methods paper has and can be used for artistic purposes. Permanent exhibits will focus on ancient civilization techniques and artwork, but smaller, temporary exhibits will feature modern artists who use paper is their method of choice. Not only will visitors be able to see the exhibits, but those who participate in events will be able to see their works temporarily displayed in the main entrance. Once considered a luxury during ancient civilizations, the art of paper has been lost since the nineteenth century. The idea behind the creation of the Paper Arts Museum is to restore interest in paper as an art form through the various. Located in the heart Seattle, Washington, this museum will inspire the people of all ages to learn about the many methods paper has and can be used for artistic purposes. Permanent exhibits

The title for the spread must always be set to the Canter typeface. The body copy should take up three columns. For image placement and style, refer to the imagery section. An image of the artist, professionally or in action (technique process), must be used.

PA PER A RT S 5 1


BA C K C O VE R

EXHIBITION

YOU ARE

INVITED! 1200 4th Avenue Seattle, WA 98140 [P] 206.356.9801 [F] 206.356.0078 www.paperartsmusuem.com

The back cover of the exhibition brochure as well as an example of the sticker flap. Only the banner is allowed to change to compliment the image. The flap’s pattern’s opacity must be set to 54% in order to create a better contrast with the stripes in the header.

PA PE R ARTS 52


C O M M U NI TY BROC HUR E

COMMUNITY

Sizing is always 7x7 with a 14x7 spread. The cover of the brochure must include a close up image of a selected artwork that is either neutral or regards the contents of the brochure, a title to specify the type of brochure, and the logo centered on a banner located in the bottom left. The banner can be any brand color relevant to the imagery and must always be 3 inches wide and 1.5 tall.

PA PER A RT S 5 3


S PR EA D

EVERY PERSON IS

DE F INE D B Y T H E C O M M UN I T Y

S H E B E LO NG S T O ­

An example of a brochure spread with a quote. Either placed on the left side or the right side. A banner must be used horizontally across the image and set to 80% opacity for legibility. The width always equals the width of the spread and the height is always four inches. The brand color must compliment the image that it is covering.

PA PE R ARTS 54

—ORSON SCOTT CARD


S PR EA D

FESTIVALS Once considered a luxury during ancient civilizations, the art of paper has been lost since the nineteenth century. The idea behind the creation of the Paper Arts Museum is to restore an interest in paper as an art form through the various.

SEATTLE PAPER ARTS FESTIVAL SUMMER Once considered a luxury during ancient civilizations, the art of paper has been lost since the nineteenth century.

JAPANESE LANTERN FESTIVAL WINTER Once considered a luxury during ancient civilizations, the art of paper has been lost since the nineteenth century.

‘DECORATE THE CITY’ FESTIVAL SUMMER Once considered a luxury during ancient civilizations, the art of paper has been lost since the nineteenth century.

The title for the spread must always be set to the Canter typeface. The body copy should take up three columns. Avenir LT STD Roman are to be used for sub-sub heads when regarding additional information for the sub-headers (i.e., the season where the festivals take place). For image placement and style, refer to the imagery section.

PA PER A RT S 5 5


BA C K C O VE R

1200 4th Avenue Seattle, WA 98140 [P] 206.356.9801 [F] 206.356.0078 www.paperartsmusuem.com

The back cover must feature any alternative logo set to the bottom left corner right above the museums contact information. The back cover must be the same color as the banner on the front.

PA PE R ARTS 56


GR ID S Y S T E M

For the 8.5x11 brochure with a 17x11 spread there is ten-column grid. The gutters on both can be no less or no more than .125 in and the margins are always .25 on all sides. Single pages are five columns with the same margins and gutter.

PA PER A RT S 5 7


GR ID S Y S T E M

For the 7x7 brochure with a 7x15 spread there is an eight-column grid. The gutters on both can be no less or no more than .125 in and the margins are always .25 on all sides. Single pages are four columns with the same margins and gutter.

PA PE R ARTS 58


S IZE

Due to the style of the image placement there is a limit on the size of the brochures. The width cannot be below six inches as well as the height unless the consistency will be lost.

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W E B S ITE


HOME PA GE

VISIT

EXHIBITS & EVENTS

PROGRAMS

MEDIA

JOIN

SEARCH

A N IN T E R N AT I O N AL LY- R E N OW N E D I N S T I T U T I O N , TH E PA P ER A RT S M US EUM I S D E D I C AT E D T O C OL L E C T I N G , E X H I B I TI NG, I N S P I R I N G , A N D P RO T E C T I N G I M P ORTA N T W OR K S OF PA P ER A RT F RO M AL L O V E R T H E G L OB A L A RT C OM M U N I TY.

The website must be in the same image placement format as the rest of the system and placed in six column grid with a .125 in gutter. Due to the header space above, this is the only time the logo-mark is allowed to be placed beside the logotype instead of above it.

PA PER A RT S 6 1


RO LLO V ER L IN K

VISIT

EXHIBITS & EVENTS

NAHOKA NAJIMA Sculptures Hand-Cut from Single Sheets of Paper. Hear from the new artist herself this friday during the premier of her first exhibit.

AN I N T E R N AT I ONALLY-RENOWNED INS TITU TIO N , TH E PA P ER ARTS M U S E U M I S DEDICATED TO COLLEC TIN G, EX H IBITIN G, INSPI R I N G , A N D PROTECTI NG IMPORTAN T W O RK S O F PA P ER ART F R OM A LL OV ER THE GLOB AL ART C O M M U N ITY.

Rollover images are used for every image link. The title of the artist, artwork, or section is set to Avenir Black, 24pt with a tracking of 200. A brief description is set below and is placed in Avenir Heavy, 14pt.

PA PE R ARTS 62

PROGRAMS

MEDIA

JOIN

SEARCH


NAVI G AT IO N

VISIT

EXHIBITS & EVENTS

PROGRAMS

MEDIA

JOIN

SEARCH

ABOUT THE MUSEUM HOURS & ADMISSION DIRECTIONS & PARKINGS TOURS PRIVATE EVENTS & RENTALS DINING & GIFT SHOP

A N IN T E RN AT IO N A L LY- R E N O WN E D I N S T ITU TION , TH E PA PER A RT S M U S E U M I S D E D I C AT E D T O C O L L EC TIN G , EXH IBITIN G , I N S P I RIN G , A N D P R O T E C T I N G I M P O RTA NT W ORKS OF PA PER A RT F R O M A LL O V E R T H E G L O B A L A RT COMMU N ITY.

Navigation links and roll over style. Each navigation link shows a different brand color when the mouse hovers over the link.

PA PER A RT S 6 3


S E C O N D HO M E PA GE

VISIT

EXHIBITS & EVENTS

PROGRAMS

MEDIA

EITHER OR DECREED The impressive laser cut art by Eric Standley.

An example of the second page after the arrow is clicked. Same image style but in different position. Each new page will feature a new image place design, but will feature the same grid structure.

PA PE R ARTS 64

JOIN

SEARCH


EXAM P LE PA GE

VISIT

EXHIBITS & EVENTS

PROGRAMS

MEDIA

JOIN

SEARCH

THE C R Y S TA L Once considered a luxury during ancient civilizations, the art of paper has been lost since the nineteenth century. The idea behind the new creation of the Paper Arts Museum is to restore interest in paper as an art form through the various. Located in the heart Seattle, Washington, this museum will inspire the people of all ages to learn about the few methods paper has and can be used for artistic purposes. Permanent exhibits will focus on ancient civilization techniques and artwork, but smaller,

D AV I D LIBESKIND The Architect.

temporary exhibits will feature modern artists who use paper is their method of choice. Not only will visitors be able to see the new exhibits, but those who participate in events will be able to see their works temporarily displayed in the main entrance. Once considered a luxury during ancient civilizations, the art of paper has been lost since the nineteenth century. The idea behind the new creation of the Paper Arts Museum is to restore interest in paper as an art form through the various. Located in the heart Seattle, Washington, this museum will inspire the people of all ages to learn about the few methods paper has and can be used for artistic purposes.

An example of the second page after the arrow is clicked. Same image style but in different position. Each new page will feature a new image place design, but will feature the same grid structure.

PA PER A RT S 6 5


THANK YOU!

PA PE R ARTS 66


We would like to extend our gratitude towards you for taking the time to care about our brand as much as we do. This style guide was not simply created for guidelines, but as a welcome to you for joining our diverse community. We are honored to have you amongst us and we cannot wait to see where your creative process lead our brand. Remember, once a member of the Paper Arts community is always a member.


1200 4th Avenue Seattle, WA 98140 [P] 206.356.9801 [F] 206.356.0078 www.paperartsmusuem.com

Paper Arts Museum - Brand Book