Angela Glyda Full Sail University | MFA Final Project | December 2011
ta ble of CONTENTS note FROM THE DESIGNER...........................
i
the STYLE GUIDE.........................................
3.0
brand VOICE.................................................
3.1
the RESEARCH.............................................
1.0
logo STANDARDS.........................................
3.2
company OVERVIEW.....................................
1.1
the TYPOGRAPHY. . .......................................
3.3
brand POSITIONING + swot ANALYSIS......... 1.2
color PALETTE.. .............................................
3.4
research PAPER.............................................. 1.3
the ICONOGRAPHY......................................
3.5
creative BRIEF + STRATEGY.......................... 1.4
the PHOTOGRAPHY STYLE..........................
3.6
print ADVERTISING.......................................
3.7
the CREATIVE DEVELOPMENT....................
2.0
the WEB STANDARDS. . .................................
3.8
mood BOARDS..............................................
2.1
motion GRAPHIC.. .........................................
3.9
logo DEVELOPMENT....................................
2.2
graphic TOOLKIT..........................................
2.3
final DESIGN SOLUTIONS.. ..........................
4.0
ad DEVELOPMENT........................................
2.4
brand IDENTITY............................................
4.1
website CONSTRUCTION.............................
2.5
poster DESIGN. . ............................................
4.2
oracle MERCHANDISE..................................
4.3
project REFERENCES...................................
5.0
image REFERENCES. . ....................................
5.1
works CITED..................................................
5.2
note FROM THE DE SIGNER
I began volunteering at Oracle Theatre in 2005 after a colleague of mine asked if I would design a poster for a play he was directing. We both worked at a realty company at the time, which didn’t exactly nurture a creative spirit. I saw the wonderful work that went into the production and was absolutely hooked. This volunteer position taught me so much about teamwork and collaboration and I don’t know if I’ll ever meet a more talented or dedicated group of artists.
Art has always been a part of my life. I can’t really ever think of a time when I wasn’t drawing, reading, listening to or playing music, dancing, writing, or sewing. Creating or molding my environment in some way is something I’ve always done. I’ve actually never lived in an apartment where I haven’t gone in and painted the walls. I am definitely someone who considers herself an artist...in life. All of these things have been amazing at enhancing my life, but also as an outlet and as almost a therapy that kept me sane and inspired through several difficult times in my life. As a kid, I had a very rocky and unstable childhood. In those rough times, there was one thing that provided me with a healthy release and taught me to cope; it was art. It has not simply enhanced my life, but it also has served as a therapeutic outlet—keeping me sane and inspired in several difficult times. As an adult, I often reflect on how blessed I am to be able to express myself through design, photography and creating. In times where I could have turned to much more destructive outlets, I understand now how fortunate I’ve been to have this gift and to be able to rely on it as a means of living a full life.
In 2010, I took some time off from the company; I became swamped with my office job and was figuring out the next steps in my education. In that time, Oracle made some incredible changes. They moved to a new business model that was revolutionary in the Chicago theatre scene...they stopped charging money for tickets. The plays were funded through sponsors and admission to the productions was open to anyone. Later that year, Oracle began an outreach program that toured nursing homes throughout the city. The actors would lip-synch to old radio plays from the 20s and 30s and nursing home residents were delighted. In 2011, as I was on hiatus from the company, Oracle really took their outreach to the next level. They toured 18 nursing homes and reached 546 individuals. In 2012, their goal is to tour 76 homes and reach over 2,000 residents. This is incredible, and it is why I chose to focus on this organization for my MFA project. As art has given so much to me as a person and enriched my life in ways I cannot describe, I feel that rebranding this company will give it the credibility and respect it deserves. As an artist, I have an obligation to enrich my community. Now, it’s time for me to give back.
1.0
t he RESE ARCH
1.1
company OVERVIEW
1.2
brand POSITIONING + swot ANALYSIS
1.3
research PAPER
1.4
creative BRIEF + STRATEGY
1.1
compa ny OVERVIE W Oracle Productions is a not-for-profit theatre company located in the Lakeview neighborhood of Chicago. The company has set itself apart from other theatres by introducing “Public Access Theatre”, a business model that no longer requires the purchase of tickets. All of their programming is free to anyone & everyone regardless of demographics.
The company has also expanded its philanthropic efforts by developing two outreach programs: The Radio Movement, which brings old radio plays to nursing homes & homeless shelters, and B*Sides, which allows emerging artists to use Oracle’s resources free of charge. All programs offered by Oracle are funded through monthly sponsorships and charitable donations.
OR ACLE PRODUCTIONS theatre
film
season usually consists of 3 shows per year
film projects may coincide with current stage play
ar t installations by resident or visiting artists
OR ACLE OUTREACH the radio movement
b*sides
oracle-produced stage productions set to old radio plays—performed in nursing homes & homeless shelters throughout the city
program for artists of any kind, allowing the use of oracle’s space and equipment. also includes marketing for the visiting artist
OR ACLE SPACES storefront
warehouse
44-seat theatre space for smaller productions
large-capacity space for more elaborate productions
lite (live interactive televised events) programs streamed online
Oracle Productions believes that art should be accessible to everyone because it enriches life.
1.2
bra nd POSITIONING MISSION Oracle believes that everyone should have the opportunity to experience thought-provoking art because it leads to a more fulfilling life. The company also believes in cultivating a creative outlet for artists that also allows them to give back to their community.
CULTURE + VALUES Inspiration and community are at the heart of Oracle Productions. The organization seeks to inspire audiences to open their minds and see the world around them. Art should be accessible to all because for Oracle, art is life.
UNIQUE SELLING PROPOSITION Its innovative business model; the organization brings ground-breaking art to the forefront and makes it accessible to everyone. The company also offers outreach programs that bring art out to the community— specifically nursing homes and homeless shelters.
INCLUSIVE Oracle’s programming, being accessible to all in the community, celebrates a myriad of cultures, beliefs and everyday issues.
PROGRESSIVE Complementing Oracle’s vision to function as a public arts organization is its ability to push the envelope beyond conventional art and performance.
key tene t s CREATIVE
Oracle unites artists to bring different disciplines to each project, allowing for multi-dimensional, innovative and compelling works of art.
swot ANALYSIS The purpose of the SWOT Analysis is to highlight the company’s current successes and identify possible areas of improvement. This framework can help a company envision goals and develop new initiatives. SWOT is an acronym for Strengths, Weaknesses, Opportunities and Threats.
This SWOT analysis seeks to examine the current brand and attributes of Oracle Productions in order to develop a multi-dimensional campaign that raises awareness of Oracle’s public access theatre and outreach program to attract new sponsors and, in turn, increase funding to continue to expand upon community projects.
Using this tool is incredibly beneficial to Oracle: Strengths and Weaknesses provide an insight to how the company is operating on an internal basis Opportunities and Threats examine external factors that may play a role in helping or hindering the business
1.2
swot ANALYSIS strengths
weaknesses
Oracle’s public access model is already in place and has received incredibly positive feedback
Oracle’s image could use some reworking; the brand should always reflect the core values and mission
Oracle has a dedicated space for performances, unlike many other small theatre/art companies in Chicago
The programming features predominantly darker dramas that may isolate them from the very community with whom they wish to connect
The organization is recognized in the Chicago theatre community for being innovative in their programming and multi-media
The same handful of directors and actors are employed for multiple shows, hindering a more diverse range of plays
Oracle’s outreach program is rewarding for both audiences and artists alike—in 2011, they brought live theatre to 18 nursing homes in Chicago
Oracle’s public access model could use more quantitative research to improve the brand image and attract more donors
opportunities
threats
Oracle can expand upon its outreach program to include underprivileged children or students without access to art programs
Oracle relies on funding from donors; economic conditions can impact sponsorship or the amount of donations
Oracle can host fund raising events to build their patron base and donate a portion of those funds to the Lakeview Pantry, a food bank located a few doors down
Other companies may adopt the free theatre model, increasing competition
Oracle’s programming can expand to include Black History Month, Hispanic Heritage Month, or Gay Pride in Chicago
Oracle’s unpaid volunteers may leave to pursue work with other not-for-profits that pay Economic real estate conditions could force Oracle to find a new space
SWOT AC TION PL AN Based on Oracle’s SWOT analysis, the strengths show that the company is headed in the right direction as far as having outreach and sponsorship programs in place. The weaknesses and threats show that in order to ensure Oracle’s success, its core values and competitive edge have to be expressed through a revitalized brand that pioneers community-serving art and an aggressive marketing campaign that highlights these initiatives.
Based on Oracle’s rental information on their home page, the “prime time slots of Thursday through Sunday are $650 per week” (Oracle Productions, 2011). On that basis, $650 x 52 weeks = $33,800 per year for minimum operating costs. By aggressively marketing Oracle’s community initiatives, and reinvigorating the brand to reflect their community leadership, the goal would be to double that number and raise $68,000 in donations or corporate sponsorship.
1.3
resea rc h PAPER ABSTR AC T The objective of this campaign is to raise awareness of Oracle Productions and its focus on free public art, theatre, and community programs in order to increase the number of sponsors and donations to the organization. This will be achieved through a multimedia brand transformation and campaign that solidifies Oracle as a professional and creative public arts organization. Oracle Productions was founded almost 10 years ago by a group of theatre students from Barat College in Lake Forest, IL. Over the last decade, Oracle has transformed itself into a company that focuses on more than live theatre. In the fall of 2010, Oracle launched their new season by announcing that they would no longer be charging for tickets. They began promoting themselves as a “public access” theatre company, hoping to morph into a public arts community center. Deanna Isaacs wrote an article on Oracle Productions for the Chicago Reader, stating, “The new purpose they’ve set for themselves, in their own odd phrase, is to ‘revitalize the hunger for cultural experiences in our community’” (Isaacs, 2010). In addition to theatre, the company offers an outreach program that takes radio plays and sets them to live theatre in nursing homes and homeless shelters.
The biggest hurdle for this company, like most theatre companies based in Chicago, is funding. The organization currently rents a space in Chicago’s Lakeview neighborhood and relies solely on donations and sponsorships to keep its doors open. The staff is comprised of volunteers, all of which have various day jobs. The ideal structure of the company would include a mix of volunteer artists that contribute time and talent mixed with full-time, paid staff members that oversee the programs and initiatives. This paper will explore how a small Chicago-based theatre company can transform into a public arts organization and make a difference in the community through its initiatives. The scope of this project will include a rebranding of the current company presence and additions to their initiatives to demonstrate leadership and commitment to making a difference in the Chicago community.
A brand transformation and multi-platform campaign will position Oracle as a professional and credible public arts organization.
Back in 1899, Jane Addams established a small theatre in the Hull House, “Chicago’s first and the nation’s most influential settlement house, … on the Near West Side” (Johnson, Mary Ann). Addams believed that theatre was good for the community and Chicago’s multi-cultural theatre scene began with plays from Russia, Lithuania and Poland. This small theatre was one of the first to emerge in Chicago, and throughout the century, Chicago theatre grew exponentially. By the 1980s, with the establishment of The Second City, Chicago solidified itself as a staple for American theatre, proving stiff competition to cities like New York and Los Angeles. Today, Chicago is home to over 200 theatres, ranging in size from small not-for-profit theatres with low budgets to large theatres that produce million-dollar shows, according to the League of Chicago Theatres, a service that showcases theatres throughout the city. Oracle Theatre has been in the spotlight in recent years for its groundbreaking plays, including Tape and Termen Vox Machina, both of which showcased the company’s incorporation of multimedia into traditional stage plays. In both performances, Oracle pushed the boundaries of traditional theatre by using film, lighting, sound and video projection to add dimension to the stage. This application of different arts awarded Oracle with acclaimed reviews by theatre critics in Chicago. Kris Vire, theatre critic for Time Out Chicago wrote, “The technical wizardry is amazing for such a tiny company, but it never crosses the line into gimmickry” (Vire, 2005). In addition to stage plays, Oracle has recently ventured into exploring other areas of art. During its most recent production of Georg Büchner’s play Woyzeck, Oracle worked with DePaul University
Digital Cinema students to produce a film that would complement the stage play. In Isaacs’ interview, she uncovers Oracle’s real vision for the company—“they’re expanding the scope of their programming ‘beyond theatre arts’ and redefining Oracle as a ‘Public Arts Organization’”(Isaacs, 2010). Oracle also challenged the definition of a not-for-profit theatre company in 2010 by announcing it will no longer charge admission for shows. The company dubbed this model “public access theatre”. Deanna Isaacs, writer for the Chicago Reader, interviewed members of Oracle after they announced their new policy. Isaac wrote, “For Oracle, free theater is just the beginning…they’ll be launching drama clubs in nursing homes and homeless shelters, hosting film festivals for college students, and offering yoga and Butoh classes as well as late-night performances. ‘All of these programs will be…offered to the public ‘at little or no cost’ (Isaacs, 2010). This is Oracle’s new vision of how Chicago theatre operates; it gives back to the community by welcoming all audiences.
1.3
resea rc h PAPER The campaign will be broken into three main parts: print and digital advertising, social media initiatives and fund-raising events. Since theatre is so prevalent in Chicago, many publications and websites like the Chicago Reader, NewCity and Metromix review theatre throughout the city and often will cover important stories for free. Advertising in this media is almost redundant – if a company’s play is favorable, the review itself is great publicity. It’s almost a waste of advertising dollars to invest in these avenues. In order to reach a broader base of Chicagoans – especially donors – spending money on print advertising in a publication such as Crain’s Chicago Business is a better idea. According to Crain’s Chicago Business, “Crain’s subscribers lead active, involved lives. They enjoy sizable discretionary incomes and seek interesting ways to spend their time and money” (Crain’s Chicago Business, 2011). A print campaign in the Crain’s Giving Guide, a list of philanthropic opportunities, would raise awareness of Oracle’s efforts to enrich the community. For digital advertising, quick, punchy and bold statements will grab the reader’s attention. This is where the heavy and black versions of the typeface Avenir will be effective. Oracle can be promoted online through sites such as Not For Tourists and The Chicago Tribune in their entertainment sections. Animated, vibrant messages will get attention best. The second component of the campaign would be to engage the audience on social media sites. A big part of being successful with social media is the “giving back” to the community. If Oracle wants to be a company that is focused on its people, both artists
and audiences, it needs to listen to the feedback and respond accordingly. Janet Fouts, author of Social Media Success! wrote, “There is no denying the simple fact that we are in an instant communication mode these days and people will, can, and do expect companies to be listening and responsive to their feedback online” (Fouts, 15). In order for online community success, Oracle needs to pay attention to what its audience wants. For instance, a review system could be put into place– people can review works online and provide valuable feedback. The open communication will help Oracle become receptive to what the community wants to see, but they can use their artistic interpretation to tell the stories in an interesting way. Another idea would be to pair young artists with company members to assist in real productions and get arts credits in school. If Oracle aspires to be successful in social media, the company needs to be aware of its place in the community and what will inspire the audience. If Oracle aspires to be a more universal company while relying on donations for funding,, several things must be in order. First of all, the organization’s identity needs to be refreshed. The Oracle logo must evolve to reflect versatility and inclusion. By choosing the right color and typeface, Oracle’s logo and message can be more effective. Secondly, a comprehensive campaign that includes print and digital advertising, social media and fund-raising events, will help give Oracle credibility with potential donors. By giving each initiative an aspect of approachability and staying true to the beginnings of Chicago theatre, Oracle can become the new standard of not-for-profit theatre companies in the city.
RESEARCH PAPER REFERENCES Almeida, Fabrizio O. New City. Retrieved on May 14, 2011 from http://newcitystage.com/2008/12/30/newcitys-top-5-of-everything-2008-stage/ Capsule. Design Matters//LOGOS 01 An Essential Primer For Today’s Competitive Market. Rockport Publishers, Inc. Beverly, Massachusetts. 2007. Print. Cheryl Carnright. Carnright Design. 2007. Retrieved on May 20, 2011 from http://www.carnrightdesign.com/color4business/emotional_impact_color-3.htm Christiansen, Richard. Theatre Companies. Retrieved on May 14, 2011 from http://www.encyclopedia.chicagohistory.org/pages/1246.html Crain Communications, Inc. 2011. Retrieved on May 26, 2011 from http://www.chicagobusiness.com/ Fouts, Janet. Social Media Success! California: Happy About. 2009. Print. Isaacs, Deanna. Thinking Outside the Black Box. Chicago Reader. (2010). Retrieved on March 15, 2011 from http://www.chicagoreader.com/chicago/oracle-productions-public-arts-organization-free-theater/ Content?oid=2223865 Johnson, Mary Ann. Hull House. Retrieved on May 11, 2011 from http://www.encyclopedia.chicagohistory.org/pages/615.html Nelson, Benno. Oracle Productions Sees Into the Future. 2011. Theatre In Chicago. Retrieved on May 14, 2011 from http://www.theatreinchicago.com/news.php?articleID=562 Oracle Productions. 2011. http://www.oracletheatre.org Vire, Kris. 2005. Time Out Chicago. Retrieved on May 14, 2011 from http://timeoutchicago.com/arts-culture/theater/40687/tape Wheeler, Alina. Designing Brand Identity: An Essential Guide for the Whole Branding Team, 3rd Edition. Wiley Custom Select, 9/7/09. Wild, Larry. Radio: History and Production. Northern State University, Aberdeen, SD. http://www3.northern.edu/wild/th100/radio.htm
19
1.4
c rea tive BRIEF + S TR ATEGY
The overall objective of this project is to position Oracle Productions as a credible and necessary part of art and culture in Chicago. A rebranding of the Oracle aesthetic that takes an artistic yet approachable look and feel is imperative to ensure the success of the company. By leveraging the quantitative research and exploring the effective use of color, typeface and imagery, the new aesthetic of Oracle will more effectively convey its culture, values and dedication to the people of the community.
Oracle Productions should walk the walk and talk the talk of a true philanthropic arts organization.
In addition to the redesign of the Oracle aesthetic, a comprehensive, multi-platform campaign is necessary to further raise awareness in the community of this organization and to increase sponsorship by individuals and corporations. Oracle Productions has the equity and sponsor base necessary to make their initiatives a success. By revitalizing the overall look of the brand and designing an effective marketing campaign, Oracle can change the face of theatre companies in Chicago and truly give the gift of art to the community.
2.0
t he CRE ATIVE DE VELOPMENT
2.1
mood BOARDS
2.2
logo DEVELOPMENT
2.3
graphic TOOLKIT
2.4
ad DEVELOPMENT
2.5
website CONSTRUCTION
2.1
mood BOAR DS FINDING INSPIRATION FOR THE BRAND In order to visually guide the Oracle brand in the right direction, mood boards were developed. This method allows for exploration of the look and feel of the company’s image.
2.2
logo DE VELOPMENT FONT EXPLORATION
LOGO EXPLORATION
Productions The final logo design features 3 overlapping asterisks as the brandmark. The “crossing” of the asterisks is reminiscent of the intersection of two stage lights that create a third color. The outlined typeface represents the “interpretation” of the work by artists and audiences alike.
2.3
gra phic TOOLK IT PUTTING IT ALL TOGETHER Once mood boards are developed, font styles are explored and the logo is finalized, a graphic toolkit is constructed as a quick reference that guides the brand visuals. This helpful tool can also serve as a checkpoint for any creative work that is developed, but may need further revision to reflect the brand.
FINAL LOGO
COLOR PALETTE
PMS 312
TYPEFACE
ICONOGRAPHY
PMS 294
PMS 7488
PMS 586
PMS Cool Gray 11C
IMAGERY
2.4
ad DE VELOPMENT PRINT ADVERTISING SKETCHES The ad concepts below demonstrate the use of typography as the main element used to deliver the message.
FINAL PRINT ADVERTISING These ads utilize all of the elements from Oracle’s graphic toolkit. The emphasis of the message comes from the typography, but is complemented by the imagery and layout.
2.5
we bsi te CONS TRUC TION A cohesive and professional website is just as important as a well-designed logo. Oracle’s website serves as a 24-hour tour guide that provides insight into the company. The development of the site map is an important first step in drawing out the essential information to be conveyed on the company website.
HOME
32
NOW PLAYING
ABOUT US
OUR ART
DONATE
CONTACT US
Show 1
Public Access Theatre
Productions
Become a monthly sponsor
Rental Info
Show 2
The Company
Outreach
Make a one-time donation
Directions
Show 3
Mission Statement
B*Sides
Giving FAQs
Mailing List
The site is created with the user in mind: the information is clearly conveyed and the company’s mission and values are easily identifiable. The entire web page is meant to be viewed at once; no scrolling is necessary to take in the information.
3.0
t he S T Y LE GUIDE
3.1
brand VOICE
3.2
logo STANDARDS
3.3
the TYPOGRAPHY
3.4
color PALETTE
3.5
the ICONOGRAPHY
3.6
the PHOTOGRAPHY STYLE
3.7
print ADVERTISING
3.8
the WEB STANDARDS
3.9
motion GRAPHIC
3.1
bra nd VOICE The mission and vision of Oracle Productions should be communicated consistently across all media. Whether a company member is speaking about the community outreach initiatives or a visiting artist is promoting an upcoming exhibit, the Oracle voice should remain true to its core idea: that art enriches life.
Oracle is about fostering creativity, nurturing expression and helping enrich people’s lives in the community. Oracle takes pride in its work, creates with integrity, and truly promotes the well-being of all by providing works of art to everyone, regardless of demographic.
key mes sag es We believe that, as artists, we have an obligation to our community. Our mission at Oracle is to bring art and culture to everyone in our community. Oracle Productions is a not-for-profit public arts organization that is dedicated to making art accessible to everyone. We offer free admission to all of our performances and exhibits because our mission is to improve our community through art. By making a donation to Oracle, you are helping us enrich the quality of life for those in our community. Your dollars go directly to programs like our Radio Movement, which delivers free performances to nursing homes. Has your life been touched by art, music, literature, sculpture or theatre? Imagine if you were hearing your favorite song for the first time. Remember that feeling? Help us deliver inspirational art to the community.
“Each word is an opportunity to be intentional.� ~ Alina Wheeler
3.2
logo S TANDAR DS The Oracle logo identifies the company’s brand and sets the tone for the organization’s identity. The asterisk represents multiple possibilities— as Oracle continues to grow in its art disciplines and branch out into the community, this icon can be used to embody any art form.
Using the logo correctly will maintain Oracle’s brand equity and ensure consistency across all media. The logo should be reproduced according to the direction explained in this style guide. The following pages demonstrate the correct usages of the logo.
Both of the logo iterations below are acceptable: 4-COLOR MASTER BRAND
MASTER BRAND WITH TAGLINE
BLACK & WHITE MASTER BRAND
MASTER BRAND WITH TAGLINE
logo ANATOM Y Alina Wheeler, author of Designing Brand Identity, describes the signature as “the structured relationship between a logotype, brandmark, and tagline” (Wheeler, 50).
The Oracle signature follows this composition— the breakdown of the elements is explained below.
SIGNATURE LOGOT YPE
BRANDMARK
TAGLINE
LOGOTYPE The word “oracle” is represented in the typeface, Unit Rounded, by Erik Spiekermann and Christian Schwartz (2008). It is outlined and the “eyes” of the “a” and the “e” have been removed. This style is used to imply that Oracle Productions supplies the framework for the art, but the audience is responsible for “filling in the blanks” with their own interpretations of the work.
BRANDMARK The asterisk is used to indicate the endless disciplines of art that Oracle can add to its repertoire. It is also the element used to represent the company as a whole. TAGLINE The tagline “art for all” is displayed in Unit Rounded Light. The thinner weight mirrors the “oracle” look and can stand on its own, if needed.
3.2
logo DOs + DO NOTs MINIMUM SIZE Recreating the logo at a size that it can still be read is important. The logo should never be smaller than 1.75”.
CLEAR SPACE For the greatest visual impact, it is important to always allow for the minimum amount of clear space around the logo. Avoid positioning text, photos, or other elements within the clear space area.
1.75”
0.25”
0.25”
0.25” 0.25” 0.25”
1.75”
0.25”
0.25”
COLORS The master brand logo and master brand logo with tagline should only be represented in the following colors:
0.25”
While the typography is represented in Pantone Cool Gray 11, the brandmark is comprised of various tints of PMS colors 7488, 294 and 312.
PMS 7488 at 70% PANTONE Cool Gray 11 or CMYK Process Equivalent
PANTONE 294
PANTONE 7488
PANTONE 312
or CMYK Process Equivalent
or CMYK Process Equivalent
or CMYK Process Equivalent
PMS 294 at 70% PMS 312 at 50%
INCORRECT USAGE Choose the correct version of the approved logo for your project from the art files provided. To retain the integrity of the logo and the Oracle brand, do not change the colors, fonts, or proportions of the logo. Use only approved color backgrounds with the approved version of the logo. Below are some common mistakes to avoid in utilizing the Oracle logo.
DISTORTED
UNAPPROVED BACKGROUNDS OR REVERSAL OF COLOR
UNAPPROVED COLORS OR FILLS
3.3
print T YPOGR APHY The typeface for Oracle Productions is Avenir, a sans serif font developed in 1988 by Adrian Frutiger. It is a strong font that can clearly convey Oracle’s message yet is versatile enough to complement the art without overpowering it.
Although the font has a range of available weights, the main styles used are 35 Light, 55 Roman and 85 Heavy. The use of the light and heavy weights together create visual interest. Use 85 Heavy to convey the most important part of the message.
Avenir 85 Heavy
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Avenir 55 Roman
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Avenir 35 Light
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
Headline examples:
WHEN WAS THE LAST TIME YOU MARVELED AT A QUARTERLY REPORT? WE TEACH KIDS THAT IT’S OKAY TO ACT OUT.
3.3
we b T YPOGR APHY Although the print materials and company identity use Avenir as the main typeface, the font may not translate correctly to the website. Various browsers, different platforms and multiple users need to be considered in the development of the site.
Google has a wide range of free web fonts that can be used universally. The closest typeface to Avenir is Lato. It is available in a wide range of weights and styles, and can be downloaded and installed on any computer.
Like Avenir, Lato has a range of available weights. The main styles that should be used are Light, Regular and Heavy. The use of the heavy font helps convey the most important part of the message.
Lato and Avenir have a few subtle differences, but the main anatomy of the two typefaces are basically the same. The similarity is important to maintain the integrity of the Oracle brand.
3.4
color PALE T TE The main objective of the rebranding campaign for Oracle Collective is to expand their base of donors who believe what Oracle does: the idea of art for all. In order to have credibility with potential sponsors, the look and feel of the brand should reflect the work this company does to enrich their community. The blue hues in the palette represent trust, confidence and stability according to the website, color-wheel-pro. com. The blues are paired with a subduing green, which “has strong emotional correspondence with safety” (Color Wheel Pro, 2011). The use of “trustworthy” colors can help influence the target audience to donate to the company because the brand appearance reflects the work that Oracle does.
The cool color palette can boost Oracle’s image by positioning them as a trustworthy and credible arts organization.
PMS Cool Gray 11C
PANTONE
PMS 312
PMS 294
PMS 7488
PMS 586
4-Color Process
C 96 M 0 Y 11 K 0
C 100 M 58 Y 0 K 21
C 46 M 0 Y 68 K 0
C 9 M 0 Y 53 K 0
C 0 M 2 Y 0 K 68
RGB
R 0 G 175 B 219
R 0 G 85 B 150
R 151 G 206 B 139
R 236 G 237 B 148
R 113 G 112 B 115
WEB
#00AEDB
#005696
#97CE8A
#EBED94
#717174
100%
70%
50%
30%
15%
3.5
the ICONOGR APHY The concept of the icons was created to mirror lighting effects...as when two lights cross and create a third color. They are comprised of three colors: PMS 312, 7488 and 294. The tints of aqua and green intersect and create navy.
PMS 294 at 45%
PMS 312 at 45%
The icons should appear on a white background and should complement the design of a piece. The icons should never replace the main asterisk as an element in the Oracle logo.
PMS 7488 at 45%
OR ACLE PRODUCTIONS theatre
film
ar t
OR ACLE OUTREACH the radio movement
b*sides
OR ACLE SPACES storefront
warehouse
lite
3.6
the PHOTOGR APHY S T YLE The photography style of Oracle Productions should reflect the art they produce. The images are adjusted to have a vintage feel. The use of a lens flare is a striking element that further glorify and romanticize of stage performance.
It is also important to represent people being inspired or reacting to the art itself. Awe, happiness, interest, or wonder are all positive emotions to capture when using audiences in Oracle imagery.
3.7
print A DVER TISING The Oracle brand can also be conveyed through print advertising. Consistent use of elements such as typography, imagery, iconography and text will ensure the Oracle message is maintained across any print media.
The main elements that make up the print advertising for Oracle Productions are the headline, image/text and the footer, which displays the call-to-action and the company logo.
WHEN WAS THE LAST TIME you SAW SoMETHINg THAT WOWED YOU?
HEADLINE
At Oracle Productions, we believe that art can make you feel like you’re hearing your favorite song for the first time. We’re dedicated to giving back to our community through art. our goal is to bring life-changing art and theatre to everyone, regardless of income, age, or any demographic you can imagine. This program is made possible by sponsors who believe what we believe— art can change your perspective on the world.
Donate as little as $5 per month to bring art into a child’s life. Visit us online at oracleproductions.org.
COPY AND COMPELLING IMAGERY
FOOTER: CALL-TO-ACTION AND LOGO
0.75”
0.75” 6.0”
0.5”
0.5”
3.25”
0.75”
0.75” 6.0”
0.5”
3.25”
4.75”
0.75”
0.5”
1.8375”
4.75”
0.75”
1.8375”
3.8
the WEB S TANDAR DS Consider the website an online ambassador of the Oracle brand. It reflects the vision and core values of the company and provides users with a constant touchpoint for the organization.
Having a professional, elegant, yet informative site can help Oracle get donations to drive initiatives in the community. When the brand message is clearly communicated, brand success is achieved.
we b pag e ANATOM Y Logo with hyperlink to home page Review of the current show
Automatic slideshow of inspiring images
Three areas of concentration clearly spelled out with links
Social media icons and links Menu of full website
Quick fact about what your donation provides
3.9
motion GR APHIC PRELIMINARY MOTION GRAPHIC DEVELOPMENT The web banner concept below shows the Oracle asterisk representing different disciplines of art. The more important element in this web banner is the typography. The text states powerful facts of how Oracle impacts the community.
FINAL MOTION GRAPHIC The final web banner uses facts to ultimately drive donors to the Oracle website. Transparency is key—by letting people know exactly how their money will be used, Oracle gains trust and credibility. These truths make donors feel good about their gifts.
1 - FRAME - 0;00;00;00 - 0;00;01;24
2 - FRAME - 0;00;02;00 - 0;00;03;27
3 - FRAME - 0;00;04;00 - 0;00;06;06
4 - FRAME - 0;00;06;10 - 0;00;08;17
5 - FRAME - 0;00;08;18 - 0;00;10;19
6 - FRAME - 0;00;10;19 - 0;00;13;08
7 - FRAME - 0;00;13;15 - 0;00;16;24
SPECIFICS Banner size: 728 x 90 pixels. Keyframe rate: 29 fps. Banner created using Adobe After Effects. The file contains a total of 9 layers: 1 Background layer and 8 layers with text applied directly in After Effects. The text effect applied under “Animation Presets\Text\Animate In \Fade Up Words” The final banner was exported as a .mov file and tested in both After Effects and QuickTime.
4.0
f inal DESIGN SOLUTIONS
4.1
brand IDENTITY
4.2
poster DESIGN
4.5
oracle MERCHANDISE
4.1
bra nd IDENTIT Y Alina Wheeler, author of Designing Brand Identity, explains that “letterhead with an original signature is still an important conduit for doing business. It is regarded as a credible proof of being in business,
and it frequently carries an important message or contractual agreement. It is still regarded as the most formal type of business communication and has an implicit dignity� (Wheeler, 146).
Having a tangible print identity in addition to an online presence is essential for Oracle Productions.
4.2
pos te r DE SIGN The majority of the printed publicity for shows comes in the form of postcards and large posters. Often, poster artwork needs to be created more than a month before the production is ready.
Written by HOWARD BARKER Directed by BEN FUCHSEN
Press photos are usually pieced together early and distributed to various publications early, so using photography as the main element in the posters is an ideal solution to this challenge. The Oracle brand standards are upheld by stylizing the photo with the vintage coloring and the lens flare.
Opens January 23 through March 6 Fridays & Saturdays 8pm Sundays 7pm Admission is free through Oracle’s Public Access Theatre Featuring company members David Boren, Jamie Bragg & Jackson King With Rachel Boller, Casey Chapman, Victoria Gilbert, David Steiger and Jason Rice as Stucley the Knight
FREE ADMISSION Visit us online @ oracle.org to reserve your seats today!
Traditionally, show postcards are distributed to other theatres around the city and posters are hung in the windows of gracious local businesses.
Investing in large-format posters to be displayed on bus shelters may help promote the shows outside of the immediate neighborhood.
4.3
oracle MERCHANDISE Oracle Productions merchandise should be conducive to creativity. Sketchbooks, pencil sets, art supplies or anything related to creative expression will help reinforce Oracle’s message.
T-shirts and other clothing items are intended to help build Oracle’s “tribe” or fan base.
5.0
projec t references
5.1
image SOURCES
5.2
works CITED
5.1
imag e SOURCE S Front & Back Covers • http://www.sxc.hu/browse.phtml?f=download&id=1005411 i - Note From the Designer • Courtesy of Oracle Productions, NFP 1.1 • Photo by Laura Smith. Courtesy of Oracle Productions, NFP 1.2 • http://all-silhouettes.com/vector-hands-arms/ • Photo by Laura Smith. Courtesy of Oracle Productions, NFP 1.4 • Photo by Angela Glyda. Courtesy of Oracle Productions, NFP 2.1 • http://marketplace.veer.com/stock-photo/-3416220 • http://www.dreamstime.com/movie-trailer-unravelling-freestock-image-imagefree1791570 • http://www.sxc.hu/photo/834151 • http://www.sxc.hu/browse.phtml?f=download&id=968813 • http://marketplace.veer.com/products/1518750 • http://marketplace.veer.com/products/1000677041 • http://www.sxc.hu/browse.phtml?f=download&id=48720 • http://marketplace.veer.com/products/3526293 • http://marketplace.veer.com/products/2465887 • http://marketplace.veer.com/products/2676690
2.1 continued • http://marketplace.veer.com/products/3386265 • http://www.sxc.hu/browse.phtml?f=download&id=174729 • http://www.sxc.hu/browse. phtml?f=download&id=1005411 • http://marketplace.veer.com/products/2642727 • http://www.sxc.hu/browse.phtml?f=download&id=616972 • http://all-silhouettes.com/vector-furniture/ • http://marketplace.veer.com/products/3268920 • http://www.sxc.hu/browse. phtml?f=download&id=275685 2.2 • http://marketplace.veer.com/stock-photo/-3416220 2.3 • http://all-silhouettes.com/vector-furniture/ 2.4 • Blue silhouette photo by Angela Glyda • Courtesy of Oracle Productions, NFP • http://www.visualphotos.com/paint/2x2703832/ cb100151.jpg • Actor photo by Laura Smith • Courtesy of Oracle Productions, NFP • Actor screen photo by Laura Smith • Courtesy of Oracle Productions, NFP • http://www.sxc.hu/browse. phtml?f=download&id=1187222 • http://www.visualphotos.com/image/2x4741774/ audience_clapping_in_movie_theater • http://www.visualphotos.com/paint/2x3790357/ ist16006.jpg • http://www.visualphotos.com/paint/2x1976402/ 141198h.jpg
2.4 • http://marketplace.veer.com/products/3716515
3.4 • http://www.sxc.hu/browse.phtml?f=download&id=1187222
2.4 • http://www.visualphotos.com/paint/2x3790357/ist16006.jpg • http://www.visualphotos.com/image/2x4741774/audience_ clapping_in_movie_theater
3.6 • Various stage photos by Laura Smith and Angela Glyda • Courtesy of Oracle Productions, NFP
2.5 • http://graphicpsd.com/graphicpsd/?p=176 • Actor & actress photo by Laura Smith • Courtesy of Oracle Productions, NFP • Group of actors photo by Angela Glyda • Courtesy of Oracle Productions, NFP • Actress and audience member photo by Laura Smith • Courtesy of Oracle Productions, NFP 3.1 • http://www.visualphotos.com/paint/2x1976402/141198h.jpg 3.3 • http://www.sxc.hu/browse.phtml?f=download&id=566218 • http://psdblast.com/glossy-mac-book-psd
3.9 • http://marketplace.veer.com/products/1075001 4.1 • http://www.istockphoto.com/stock-photo-12565719 -hands-holding-blank-document.php?st=f6c1102 4.2 • Poster photo by Angela Glyda • Courtesy of Oracle Productions, NFP 4.3 • http://us.fotolia.com/id/31514226 • http://www.sxc.hu/photo/1313665 • http://us.fotolia.com/id/3836442 • http://www.youthedesigner.com/2009/10/05/ 19-free-blank-t-shirt-template-designs/
5.2
works CITED Airey, David. Logo Design Love: A Guide to Creating Iconic Brand Identities. New Riders Publishing/MBS. Almeida, Fabrizio O. New City. Retrieved on May 14, 2011 from http://newcitystage.com/2008/12/30/newcitys-top-5-of-everything-2008-stage/ Block, Bruce. The Visual Story: Creating the Visual Structure of Film, TV and Digital Media, 2nd Edition. Focal Press. Capsule. Design Matters//LOGOS 01 An Essential Primer For Today’s Competitive Market. Rockport Publishers, Inc. Beverly, Massachusetts. 2007. Print. Cheryl Carnright. Carnright Design. 2007. Retrieved on May 20, 2011 from http://www.carnrightdesign.com/color4business/emotional_impact_color-3.htm Christiansen, Richard. Theatre Companies. Retrieved on May 14, 2011 from http://www.encyclopedia.chicagohistory.org/pages/1246.html Color Wheel Pro. 2011. Retrieved on December 18, 2011 from: http://www.color-wheel-pro.com/color-meaning.html Crain Communications, Inc. 2011. Retrieved on May 26, 2011 from http://www.chicagobusiness.com/ Fouts, Janet. Social Media Success! California: Happy About. 2009. Print. Isaacs, Deanna. Thinking Outside the Black Box. Chicago Reader. (2010). Retrieved on March 15, 2011 from http://www.chicagoreader.com/chicago/oracle-productions-public-arts-organization-free-theater/ Content?oid=2223865 Johnson, Mary Ann. Hull House. Retrieved on May 11, 2011 from http://www.encyclopedia.chicagohistory.org/pages/615.html Krasner, Jon S. Motion Graphic Design: Applied History and Aesthetics. Focal Press.
Nelson, Benno. Oracle Productions Sees Into the Future. 2011. Theatre In Chicago. Retrieved on May 14, 2011 from http://www.theatreinchicago.com/news.php?articleID=562 Neumeier, Marty. The Brand Gap. MBS Direct. Oracle Productions. 2011. http://www.oracletheatre.org Perrin, Robert. Pocket Guide To APA Style, 3rd Edition. Cengage Learning US, 2009. Vire, Kris. 2005. Time Out Chicago. Retrieved on May 14, 2011 from http://timeoutchicago.com/arts-culture/theater/40687/tape Wheeler, Alina. Designing Brand Identity: An Essential Guide for the Whole Branding Team, 3rd Edition. Wiley Custom Select, 9/7/09. Wild, Larry. Radio: History and Production. Northern State University, Aberdeen, SD. http://www3.northern.edu/wild/th100/radio.htm