BRAND GUIDELINES
SECTION 1
The Foundation
This is the solid ground that our entire brand is built upon�
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�
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�
BRAND PERSONALITY
Our personality determines how Orlando Ballet comes across to the world� We define our brand personality across three aspects
How our brand feels
How our brand sounds
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�
BECAUSEOFORLANDOBALLET,
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
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
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�
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�
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
EXAMPLES: VOICE
These examples can be used as a tool to optimize our current messaging and maintain a consistent tone for future projects
ORLANDO 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 INVIGORATE 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 QUALITY MEETS COMMUNITY-WIDE ACCESSIBILITY.
Orlando Ballet performers and performances are fit for the world’s greatest stages and welcome all walks of life�
ORLANDO BALLET VOICE
NOT ORLANDO 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
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�
ORLANDO BALLET VOICE
NOT ORLANDO 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�
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�
EXAMPLES: HEADLINES
& TAGLINES
ORLANDO BALLET VOICE
These examples can be used as a tool to optimize our current messaging and maintain a consistent tone for future projects
EXAMPLES: DESCRIPTION
These examples can be used as a tool to optimize our current messaging and maintain a consistent tone for future projects
ORLANDO BALLET VOICE
ABOUT ORLANDO BALLET
WE INVIGORATE THE ART OF BALLET.
ELEGANTLY AUDACIOUS. BOLDLY BALLET.
PERFORMANCES
STUNNING STORYTELLING. UNFORGETTABLE ENTERTAINMENT.
EXPERIENCE THE BEST OF BALLET, AT THE BEST VALUE.
ORLANDO BALLET VOICE
ORLANDO BALLET VOICE
ORLANDO BALLET SCHOOL RAISE THE BARRE. MAKE YOUR PASSION YOUR PROFESSION. DONORS
PLAY A PART IN ELEVATING OUR ART.
YOUR GIFT BRINGS STORIES TO LIFE.
ORLANDO BALLET VOICE
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�
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�
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
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
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
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�
TAGLINE STACKED
JORDEN MORRIS STACKED
FRAMED
LOGO - JORDEN MORRIS
For use in media related to shows where the artistic director requires credit�
LOGO - FRAMED
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
PRIMARY HORIZONTAL
TAGLINE HORIZONTAL
JORDEN MORRIS
HORIZONTAL
FRAMED HORIZONTAL
DO NOT CREATE NEW VARIATIONS OF THE LOGO
It is important that the logo be used consistently and in harmony with the below guidelines�
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
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
It is important that the logo be used consistently and in harmony with the below guidelines�
SIZE (BIGGER IS NOT ALWAYS BETTER)
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�
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 MONOGRAM
Do not shorten the logo to “OB” or use the monogram in any external communication or creative
CONTRAST
Always allow sufficient contrast between background color and logo If background becomes dark, use the White Curtain version of the logo
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
Transat Text
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua�
NO MORE THAN TWO 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�
DO NOT OVER-USE ERSTORIA
Erstoria can become overwhelming and difficult to read if it is used too much or at small sizes
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 TRANSAT TEXT BOLD, TRACKING SET TO 80
Headline
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
COLOR COLOR EXAMPLES
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�
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
SECONDARY COLORS
A variety of rich secondary colors bring versatility while maintaining an elevated tone
Aubergine should be the most frequently-used secondary color�
Show palettes can be created using any of these secondary colors�
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
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�
CANDID BALLET PHOTOGRAPHY
The primary principle for photography is “ballet first”� Candid photography should never look casual� It should always feel “premium” and evoke a sense of luxury and elegance
AS SHOT
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)�
COLOR CORRECTED & RETOUCHED
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)
STUDIO PHOTOGRAPHY
The primary principle for photography is “ballet first”� Brand photography should always highlight the dancer and the perfection of their form
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”�
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
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
PHOTOGRAPHY CREDIT
Photography credit must be included anywhere photography is used� The following guidelines dictate how to include this credit in all media
NEGATIVE SPACE
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:
ISRAEL ZAVALETA ESCOBEDO PHOTOGRAPHY DANCER NAME
PLACEMENT
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
Ensure the credit will not get cropped out in final product
BAD EXAMPLE
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�
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
GOOD EXAMPLE
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�
COLOR
Type color should be Curtain White 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
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�
BUILDING A COLOR PALETTE
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)
PAN
One primary, two secondary, one tertiary (used sparingly)
UNCORKED
Two primary, one secondary, one tertiary (used sparingly)
PETER
SHOW TYPOGRAPHY
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
TYPOGRAPHY EXAMPLES
The following are general principles to follow when choosing and pairing fonts�
PRIMARY BRAND FONT
Transat Text Standard
Transat Text Medium
Transat Text Bold
Transat Text Black
Transat Text
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua�
SHOW-SPECIFIC HEADLINES
Quirino (All Caps)
QUIRINO
ABCDEFGHIJKLMNOP
0123456789
MODERN/SMALL STAGE SHOW HEADLINES
Transat Text Bold
Shows like Uncorked and others held on a smaller stage can use Transat Text Bold
UNCORKED TRANSAT TEXT BOLD
USE QUIRINO PAIRED WITH TRANSAT TEXT FOR SHOW-SPECIFIC MATERIALS
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 TITLES
CREATING SHOW TITLES
Quirino (All Caps)
Tracking: 40
Kerning: Optical
(Manually adjust kerning so letters are evenly spaced)
Leading: 75% of type size
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
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
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
Tracking should be slightly decreased to ensure letter-spacing looks correct
PETER PAN PETER PAN PETE R PAN
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
DATE RANGE STANDARD
Always use show dates in the following format:
• All Caps
• Three-letter abbreviation
• No period
• 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�
SECTION 6
Acknowledgments & Sponsorships
LIVE MUSIC
Select shows have live music accompaniment� For such shows, follow the direction outlined below�
LIVE MUSIC ACKNOWLEDGMENT
When shows include live music, all printed marketing materials should include the following wording, when possible:
ACCOMPANIED BY THE ORLANDO PHILHARMONIC ORCHESTRA
Transat Text Bold
All Caps
Tracking: 80
SHOW POSTERS
When shows include live music, all posters should display the logos for Dr� Phillips Center and Orlando Philharmonic Orchestra�
EXAMPLES:
FONT
LEVEL 1 SPONSOR
(ADDITIONAL SPONSOR)
The wording for sponsor recognition across all media should be consistent� This honors the sponsorship and harmonizes with the agreements made
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
LEVEL 2 SPONSOR
(SPONSORED IN PART BY)
The wording for sponsor recognition across all media should be consistent� This honors the sponsorship and harmonizes with the agreements made
LEVEL 2 SPONSOR EXAMPLES
SHOW TITLE ACKNOWLEDGMENT
Placed under show title
“SPONSORED IN PART BY (SPONSOR)”
Only one sponsor may be displayed under the show title per show�
The wording for sponsor recognition across all media should be consistent� This honors the sponsorship and harmonizes with the agreements made
LEVEL 3 SPONSOR
(SPONSORED BY)
The wording for sponsor recognition across all media should be consistent� This honors the sponsorship and harmonizes with the agreements made
LEVEL 3 SPONSOR EXAMPLES
TITLE ACKNOWLEDGMENT
Placed under show title
“SPONSORED BY (SPONSOR)”
Only one sponsor may be displayed under the show title per show
The wording for sponsor recognition across all media should be consistent� This honors the sponsorship and harmonizes with the agreements made
BILLBOARD
LEVEL 4 SPONSOR
(BROUGHT TO YOU BY)
The wording for sponsor recognition across all media should be consistent� This honors the sponsorship and harmonizes with the agreements made
LEVEL 4 SPONSOR EXAMPLES
SHOW TITLE ACKNOWLEDGMENT
Part of show title lockup
“BROUGHT TO YOU BY (SPONSOR)”
Only one sponsor may be displayed as a full sponsor
The wording for sponsor recognition across all media should be consistent� This honors the sponsorship and harmonizes with the agreements made
Digital Advertising Acknowledgment (in creative, select campaigns)
POSTER
POLE BANNER
RACK CARD
BILLBOARD
PRODUCTION SPONSOR BENEFITS
This chart shows sponsorship details based on amount spent�
BRANDING
Show Title Part of Logo Lockup
Sponsored by Acknowledgment
Sponsored in part by Acknowledgment
Additional Sponsors Acknowledgment
ADVERTISING
Downtown Orlando Pole Banner Acknowledgment (if signed by July 1)
Digital Advertising Acknowledgment (in copy, select campaigns)
Rack Card Acknowledgment
Print Ad Acknowledgment
Show Poster Acknowledgment
MARKETING Orlando Ballet Email Signature Branding
Email Campaign Acknowledgment (exposure based on level)
Harriett’s Orlando Ballet Centre Lobby Screen Acknowledgment (Show Slide)
WEBSITE
Home Page Show Promotion (exposure based on level)
Show Page (sub-header)
Show Page (body)
Support Us Page
Footer Logo Inclusion (Homepage)
On bottom of pole banner
X In copy only. Not on creative.
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�
SCHOOL LOGO
logo�
SCHOOL LOGO VARIATIONS
logo variations for Orlando Ballet School�
SCHOOL COLOR PALETTE
LOGO - STACKED
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�
All School brand applications should gravitate toward these light neutrals and may incorporate one accent color as-needed�
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
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
SCHOOL TYPOGRAPHY SCHOOL TYPOGRAPHY EXAMPLES
Transat Text
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua�
BOLDER USE OF TRANSAT
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 TRANSAT 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 TRANSAT TEXT BOLD, TRACKING SET TO 80
PHOTOGRAPHY PRINCIPLES
The following principles should guide the photography choices for the Orlando Ballet School�
PHOTOGRAPHY PRINCIPLES (CONTINUED)
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�
DO’S AND DON’TS
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
STUDIO PHOTOGRAPHY
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
BAD EXAMPLES
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
PREPARATORY TRAINING CENTER
WORDMARK - PRIMARY
PHOTOGRAPHY EXAMPLES
WORDMARK - HORIZONTAL
THE ACADEMY WORKSHOPS & MASTERCLASSES
WORDMARK - PRIMARY
PHOTOGRAPHY EXAMPLES
WORDMARK - HORIZONTAL
WORDMARK - PRIMARY
PHOTOGRAPHY EXAMPLES
WORDMARK - HORIZONTAL
PHOTOGRAPHY EXAMPLES
WORDMARK
PHOTOGRAPHY EXAMPLES
SPRING & SUMMER CAMPS
WORDMARK - PRIMARY
PHOTOGRAPHY EXAMPLES
WORDMARK - HORIZONTAL WORDMARK -
WORDMARK - PRIMARY
PHOTOGRAPHY EXAMPLES
SECTION 8
Putting It All Together
When people encounter the Orlando Ballet, our entire brand—from voice, to vibe, to visual—will be elegantly apparent�
BRAND 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
BRAND SPECTRUM (CONTINUED)
