VISUAL BRAND GUIDE
TABLE OF
Contents 5
PURPOSE Preserving the Visual Brand
7
MISSION Why We Exist
9
WHO WE ARE Our Branches
15
OUR MUSIC LEGACY The 1927 Sessions
17
LOGO USAGE Branch Guidelines
29
COLOR & TYPOGRAPHY Color Palette and Typeface
37
IMAGE GUIDELINES Setting the Mood
45
STATIONERY Putting it on Paper
49
MARKETING TEAM Contact Information
4 | PURPOSE
PURPOSE The Birthplace of Country Music’s Visual Brand Guide has two main purposes: 1. This guide promotes consistency throughout the visual brand, thus preserving the integrity of our visual assets. Ultimately, the guide should enhance the brand’s effectiveness and recognition through the use of a strategic visual plan.
2. This guide is meant to provide a clear day-to-day reference for the creation, usage, and engagement of the organization’s visual assets, both for in-house and external purposes. In addition to being a useful resource to current employees, it will be used in the onboarding process for new hires, giving them a comprehensive view of the Birthplace of Country Music, Inc.’s overall branding. Additionally, portions of it may be provided to outside design/marketing agencies and other artists contracted by or partnered with the organization.
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6 | MISSION
MISSION The Birthplace of Country Music seeks to perpetuate, promote, and celebrate Bristol’s rich musical heritage; to educate and engage audiences worldwide regarding the history, impact, and legacy of the 1927 Bristol Sessions from which we derive our name; and to create recognition, opportunities, and economic benefit for our local and regional communities. BCM accomplishes this mission through its three primary branches (Birthplace of Country Music Museum, Bristol Rhythm & Roots Reunion, and Radio Bristol), special projects and events, and a multitude of community and educational outreach programs. Independently, each of these branches strives for excellence in bringing the arts to wide audiences. Together, the branches interact through collaboration, mutual support, and the ability to bring innovative thinking to important arts programming.
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8 | WHO WE ARE
THE MUSEUM Discover a Story of American Music The Birthplace of Country Music Museum, an affiliate of the Smithsonian Institution, tells the story of the 1927 Bristol Sessions recordings, explores how evolving sound technology shaped their success, and highlights how this rich musical heritage lives on in today’s music. Through text and artifacts, multiple theater experiences, and interactive displays – along with a variety of educational programs, music performances, and community events – the exciting story of these recording sessions and their far-reaching influence comes alive.
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10 | WHO WE ARE
THE FESTIVAL Celebrating the Roots of American Music The Bristol Rhythm & Roots Reunion music festival is an electrifying music experience. Held annually the third weekend in September in Historic Downtown Bristol, Tennessee-Virginia, the three-day music event is amped to the beat of Appalachia’s past, present, and future. Creating awareness of the deep musical roots established in Bristol, the Festival features the very best in roots music talent from the region and beyond.
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12 | WHO WE ARE
THE RADIO Putting the Roots Back into Radio Experience Americana, classic country, bluegrass, old time, and the music of our region through Radio Bristol. Broadcasting locally from the Birthplace of Country Music Museum in Bristol, Virginia on 100.1 FM and online through the website’s media center and mobile app for iOS and Android, Radio Bristol features WBCM Radio Bristol, Radio Bristol Americana, Radio Bristol Classic and the Radio Bristol Video channel, making Radio Bristol a unique radio station and online destination.
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Ralph Peer Peer Family Archive 14 | OUR MUSIC LEGACY
Historic Downtown Bristol Reproduced with permission from the Bristol Historical Association
OUR MUSIC LEGACY In the summer of 1927, just two months after Charles Lindbergh made the first flight across the Atlantic in the Spirit of St. Louis and during the summer that Babe Ruth was blasting out 60 home runs for the Yankees, record producer Ralph Peer of the Victor Talking Machine Company was making music history in Bristol, Tennessee/Virginia. Between July 25 and August 5 of that year, Peer conducted recording session using the new Western Electric electronic microphone during which 19 performers and groups recorded 76 songs. Those sessions – the now famous “Bristol Session” have also been called the “Big Bang” of modern country music, and Johnny Cash considered them “the single most important event in the history of country music.”
The sessions featured the first recordings of Jimmie Rodgers and The Carter Family. Rodgers is now referred to as the “Father of Country Music” and was the first person inducted into the Country Music Hall of Fame. The Carter Family, featuring A.P., Sara, and Maybelle Carter, is now known as “The First Family of Country Music” and are also in the Hall of Fame. The 1927 Bristol Sessions not only initiated the careers of these superstar performers, but originated the broad commercialization of country music. Many of the songs and stylings of these sessions still resonate and influence the music of today. For these reasons, the United States Congress officially designated Bristol, Tennessee/Virginia as the “Birthplace of Country Music” in 1998.
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16 | LOGO USAGE
LOGO USAGE Our logos are some of our most valuable visual assets, and every effort should be made to ensure that they remain readable and recognizable. There are four main logos representing the organization as a whole and each of its unique branches: Birthplace of Country Music, Birthplace of Country Music Museum, Bristol Rhythm & Roots Reunion, and Radio Bristol. While each logo has a distinct purpose, they all work together to promote the organization.
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MAIN LOGOS
THE BIRTHPLACE OF COUNTRY MUSIC This is the main Birthplace of Country Music logo. As a general standard, this logo should be included on all BCM marketing materials for the festival, radio, and other special BCM events (see “Using the Logos Together� on page 21). An exception to this rule may occur on museum materials, as the Birthplace of Country Music Museum logo contains the Birthplace of Country Music logo; including them both would appear unnecessarily repetitive.
18 | LOGO USAGE
THE FESTIVAL
THE MUSEUM
THE RADIO
For use on all festival-related material, including merchandise
For use on all museum-related material, including exhibits, programs, and events
For use on all radio-related material, including sessions, shows, and events
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ALTERNATE LOGOS In addition to the primary logos of each entity, there is also a scaled-down version of each logo for small-size usage. These simplified logos should only be used when the standard logos cannot fit into the material at the minimum size or larger (see “minimum size� on following page), and are not meant for use on merchandise without approval from the Director of Marketing.
20 | LOGO USAGE
MINIMUM SIZE A logo that is too small will lose both readability and impact, undermining its purpose. When producing the logos at a small size, the following rules should be followed: •
Generally, the logos should not be smaller than 75 px wide, or approximately 1” wide. When in doubt, bigger is better.
•
If a logo is used on material that necessitates its production at smaller than 75 px wide (i.e. a small advertisement that does not provide enough room), then the alternate simplified logos (see on previous page) must be used in their place. These should be produced at no smaller than 50 px wide, or approximately .7” wide.
USING THE LOGOS TOGETHER When using any of the BCM logos in the same communication, the Birthplace of Country Music, Inc. logo should always be the highest in the hierarchy followed by the Bristol Rhythm & Roots Reunion, Birthplace of Country Music Museum, and then Radio Bristol logos (as applicable).
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CLEAR SPACE To ensure the integrity and visibility of the various Birthplace of Country Music logos, all logos, icons, and identifiers should be kept clear of competing text and graphics. There should be adequate clear space on all sides, as specified by the “x� width and height below.
Clear Space (mic height)
Clear Space (mic height)
Clear Space (sound hole)
22 | LOGO USAGE
Clear Space (letter height)
RESTRICTIONS The Birthplace of Country Music logos have been carefully designed and should not be altered. The following represents examples of prohibited changes, but is not an exhaustive list. DO NOT: • • • • • • •
Alter the logo marks in any way (with the exception of the “Acceptable Modifications” listed on the next page) Redesign, redraw, modify, distort, crop, or alter the proportions of the marks Add words, images, or any other new elements to the marks (with the exception of current taglines or festival dates) Replace the approved typefaces with any other typeface Modify the size or position relationship of any element within the marks Stretch the logo vertically, horizontally, or otherwise distort the existing shape in any way Alter the color to anything other than black or white
the
MUSEUM Do not alter the existing font type or size
Do not stretch the logo in any way
Do not crop the logo Visual Brand Guide | 23
ACCEPTABLE MODIFICATIONS There are a few exceptions and ways the logos may be modified to fit various purposes. Modifications should only be made by the BCM marketing team and approved prior to publication by the Director of Marketing. You may: • •
Add the words “Presented By” when applicable, such as in festival or radio marketing (ex. 1) Include a current tagline, where the clear space will fit outside of the logo tagline combination (ex. 2 and 3)
EXAMPLE 1:
EXAMPLE 2:
presented presented by by
Classic • WBCM • A meri cana • V ideo
24 | LOGO USAGE
EXAMPLE 3:
FILE TYPES The logos are made accessible in many different file types, so it is important to know which file type to use when. •
WEB USAGE: .PNG OR .JPG The best file format to utilize when using the logos for any kind of web purpose is the .PNG format. A .PNG is high-quality, while staying small in size to remain as web-friendly as possible; it also allows use of the logo with a transparent background so it may be used on any website background without a white box around it. The second option for web usage is a .JPG, but be aware that it will not retain a transparent background.
•
PRINT USAGE: .AI OR .PNG The most versatile format when using the logos on any print material is the .AI file, as it allows for infinite scaling without loss of quality as well as quick color editing. However, a large .PNG also makes an acceptable file to use in print design.
•
OTHER On rare occasions you may be asked by a vendor to provide a different file type than what is listed here or available to you. In these instances, please consult with the Director of Marketing in order to fulfill these requests.
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PARTNER LOGOS LOGO STRIP: As both a nonprofit and a tourism/arts attraction, we have several partnerships and grants through various entities. These partnerships require that we must display our partner logos on all of our ads, as well as some of our other materials. (BCM’s Director of Marketing will determine if the logo strip is needed.) As a standard, these logos are always displayed in a row at the bottom of all of our advertisements, typically on a white background. *Logos and partnerships subject to change SMITHSONIAN AFFILIATE: The Birthplace of Country Music Museum is fortunate to be an affiliate museum of the Smithsonian Institution. As such, we are able to use the Smithsonian Affiliate logo on our museum materials. This logo is not required on all Museum materials, but should be included on rack cards, brochures, and membership and development materials as instructed by the Director of Marketing. All use of the Smithsonian Affiliate logo must be approved by the Smithsonian. Please work with the BCM marketing team to have applicable materials sent for approval. According to the Smithsonian Affiliate rules, DO NOT: • • • • • •
26 | LOGO USAGE
Infringe on the empty space around the logo Place a defined shape around it Use the logo as a part of a sentence Use a patterned background behind it Create a shadow or add dimension to it Reduce it to a point where it is unreadable
Clear Space (letter height)
ICONS MIC ICON: The mic icon is pulled out of the BCM logo; it is also a significant part of the Radio Bristol logo. It is often used as a standalone graphic element, most often for promoting Radio Bristol. When being used to specifically identify Radio Bristol, it should always include all three parts of the mic icon: the mic itself, the lightning bolts, and the descriptive “TN” and “VA” on either side. An example is the icon used for the Radio Bristol app.
FESTIVAL GUITAR HEADSTOCK: This comes from the tip of the guitar in the BRRR logo. This icon’s only standalone use is for the Festival app icon.
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28 | COLOR & TYPOGRAPHY
COLOR & TYPOGRAPHY COLORS are one of the most important elements in our visual brand. Research shows that color is such a strong factor in the delivery of brand messaging that 60% of people make their decisions based on color alone. In fact, the research goes on to show that consistent use of a strong color palette increases brand recognition up to 80%. To this end, we have created a comprehensive color palette that is both attractive and unified, while still providing creative flexibility. The primary colors outlined apply to the entire Birthplace of Country Music organization, while each branch has also been granted its own expanded secondary palette. Although the secondary palettes overlap and are very similar, they have each been created with some variations to help each branch further its individual tone and message. TYPOGRAPHY also plays an essential role in the look and message conveyed by our brand. Consistent and careful usage will reinforce the organization’s tone and personality, in addition to providing another layer of unity in all Birthplace of Country Music communications.
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PRIMARY COLORS These two colors, dark blue and soft yellow, should be the dominant colors in all Birthplace of Country Music materials. Dark Blue
Soft Yellow
#004d6c CMYK: 98, 67, 38, 21 RGB: 0, 77, 108
#fcf0ac CMYK: 2, 2, 40, 0 RGB: 252, 240, 171
BASE COLORS These are the three standard base colors for all Birthplace of Country Music materials.
30 | COLOR & TYPOGRAPHY
Cream
Slate
Black
#fbf9dc CMYK: 1, 0, 16, 0 RGB: 251, 249, 220
#414142 CMYK: 68, 61, 59, 46 RGB: 65, 65, 66
#000000 CMYK: 0, 0, 0, 100 RGB: 0, 0, 0
THE MUSEUM – ACCENT COLORS Communications for the Birthplace of Country Music Museum should be sophisticated but friendly and approachable, with pops of bright color throughout. Orange
Teal
#f4a77d CMYK: 2, 40, 52, 0 RGB: 244, 167, 125
#2fbebc CMYK: 69, 0, 31, 0 RGB: 47, 190, 188
THE FESTIVAL – ACCENT COLORS To showcase the festival as a vibrant music experience, the Bristol Rhythm & Roots Reunion colors are bright and energetic; they should always be used in an exciting and bold way. Green
Teal
Purple
#93ca68 CMYK: 46, 0, 78, 0 RGB: 147, 202, 104
#2fbebc CMYK: 69, 0, 31, 0 RGB: 47, 190, 188
#5d2664 CMYK: 72, 98, 30, 18 RGB: 93, 38, 100
THE RADIO – ACCENT COLORS Radio Bristol pulls from both the past and the present to entertain listeners, so their colors do as well; they should be used playfully in a way that blends both modern and vintage. Orange
Teal
Purple
#f4a77d CMYK: 2, 40, 52, 0 RGB: 244, 167, 125
#2fbebc CMYK: 69, 0, 31, 0 RGB: 47, 190, 188
#5d2664 CMYK: 72, 98, 30, 18 RGB: 93, 38, 100
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PRIMARY TYPEFACES Primary typefaces are to be used in titles, call-outs, and other large or heavily emphasized text. They are not appropriate for small point sizes or large bodies of text. Additionally, the two primary typefaces should not be used together — one or the other should be chosen, but never both in the same piece.
OPTION 1: ABRIL FATFACE Recommended for BCM, Inc. and BCMM Abril Fatface is the established typeface for large titles and headings in all general Birthplace of Country Music communications. It lends a more sophisticated tone that is also ideal in most Birthplace of Country Music Museum materials (such as museum brochures, membership information, and donor packets).
ABRIL FATFACE REGULAR
ABRIL FATFACE ITALIC
ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789
ABCDEFGHIJKLMNOPQRSTUVWXYZ 012 3456789
Tracking: 50 (minimum)
32 | COLOR & TYPOGRAPHY
Tracking: 50 (minimum)
OPTION 2: INTRO RUST BASE / BASE SHADE Recommended for Festival, Radio, and certain children’s materials Because there are occasions where our material needs to convey a more playful message, we have also provided the option of using Intro Rust Base as a primary typeface. It is most appropriate for use on Bristol Rhythm & Roots Reunion and Radio Bristol communications, as well as materials promoting certain children’s events such as Pick Along Summer Camps. Use Intro Rust Base Shade for very short, single-line phrases only. Both versions may be used together (ex. below).
Intro Rust Base
Intro Rust Base Shade
abcdefghijklmnopqrstuvwxyz 0123456789
abcdefghijklmnopqrstuvwxyz 0123456789
Tracking: 50 (minimum)
Tracking: 50 (minimum)
Radio Bristol Sessions
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SECONDARY TYPEFACE – ORGANIZATION WIDE MR EAVES XL MOD OT – MARKETING USE Use the secondary typeface for any other text (e.g. body text, captions, etc.) organization-wide. Use Book, Book Italic, Bold, and Bold Italic for body text and captions.
•
Mr Eaves XL Mod OT Book
Mr Eaves XL Mod OT Bold
A B C D EFGH IJKL M NOP QRSTU V W XYZ a b cd efg hi j k l m nop q r st uv wxyz 0 1 2 3456 789
ABCDEFGH I J K LMN O P Q RST U V W XYZ abc defghi j kl m no pqrs tuv w xy z 0 12 3456789
Mr Eaves XL Mod OT Book Italic
Mr Eaves XL Mod OT Bold Italic
A B C DE FG HIJK LMN O P Q R ST UVWXYZ a b c def gh i j k l mn opqr st u vw xyz 0 1 2 34 56 789
A BCDEFGH I JKLM N O P Q RST U V WXYZ abcdefghijk lmno pqr s tu vwxyz 0 12 3456789
Use Heavy and Heavy Italic for subtitles, longer call-outs/block quotes, etc.
Mr Eaves XL Mod OT Bold
Mr Eaves XL Mod OT Bold Italic
A BC D EFG HI J KL MN O P Q RSTU VWXYZ a b cdefghijk lmno pqr s t uvwxyz 0 1 2 3456 789
ABC DEF GHIJKL MN O P Q R ST UV W XYZ abcdefghijklm no p q r stu vw xy z 01 234 56789
34 | COLOR & TYPOGRAPHY
CALIBRI – ALTERNATE FOR NON-MARKETING An acceptable typeface alternate for non-marketing documents is the system-installed typeface Calibri (but only when Mr Eaves XL Mod OT is unavailable to an employee and never for use in marketing materials). Use Regular, Regular Italic, Bold, and Bold Italic for body text and captions.
Calibri Regular
Calibri Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ a b c defg hi j kl m nopqrstuv wxyz 0 1 23456789
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghij k l m n op q rst u v wxyz 012345678 9
Calibri Italic
Calibri Bold Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghi j kl m nopqrstuv wxy z 0 1 23456789
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghi j k l mn o pqrst u v wxy z 012345678 9
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36 | IMAGE GUIDELINES
IMAGE GUIDELINES Images are a huge part of our visual identity; they are one of the best ways to effectively communicate who we are and what we do. As such, the style of images used in BCM communications must fit into a consistent style and be sourced responsibly. Keeping with our goals, the imagery used should be warm, friendly, and overwhelmingly positive. It should be believable and inviting – it should not be staged or stuffy.
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BASIC RULES General Quality: To maintain the integrity of the images, all photos should be high-quality and sharp. An image where the subject is out of focus, pixelated, or of otherwise poor quality is unacceptable for use. It is also important that the images should not be visibly dated. Web Usage: Images should be 72 dpi and .JPG for web. Print Usage: Images should be 300 dpi and .JPG (minimum of 1 mb) for print.
DO NOT USE BLURRED IMAGES
38 | IMAGE GUIDELINES
GOOD
DO NOT USE PIXELATED IMAGES
EXPOSURE All images should be properly exposed with a range of highlights, mid-tones, and shadows so that the viewer can easily make out the details of the subject.
DO NOT USE OVEREXPOSED IMAGES
GOOD
DO NOT USE UNDEREXPOSED IMAGES
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EDITING Color vs. Black and White: With few exceptions, all images should be in color to best convey BCM’s goal mood for images. (Occasionally there are instances where the promotional photos of artists or guest speakers are only available to us in black and white; for these instances, any other images used in the end promotional material, including those from other artists/guests, should be converted into black and white for consistency.) Saturation: The color of images should strive to maintain a realistic saturation and not appear to be doctored.
DO NOT OVERSATURATE
40 | IMAGE GUIDELINES
GOOD
DO NOT UNDERSATURATE
Watermarks: Do not add a watermark to any image unless the image is from an outside source that requires the inclusion of such a mark. (This is different from a credit line as a watermark is a logo, wordmark, or other icon added onto the surface of an image; credit lines are small captions outside of the image providing source information.) Other Editing: Any editing to the image should be subtle, meaning a viewer cannot noticeably tell that an image has been doctored. This includes use of HDR (high dynamic range photography), filters, airbrushing, etc. (Please note that these techniques are not restricted as long as they are not heavy-handed. Our images should always appear believable and genuine.)
DO NOT USE IMAGES WITH WATERMARKS
PRE-HDR VS. OBVIOUS HDR
DO NOT USE IMAGE FILTERS, SUCH AS SEPIA
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IMAGE SOURCING Birthplace of Country Music Image Archive: When possible, all images should be sourced from our organization’s archive; it can be accessed on the BCM server at this path (Server) “Birthplace” > (Folder) “Photos.” Unless otherwise noted, these images are 100% property of BCM and can be used for any marketing or internal purposes. Crediting the photographer is encouraged (online and in social media), but is not required. When crediting from the BCM archive, the following format is to be used: © Birthplace of Country Music; Photographer: [insert photographer’s name]. Archival/Historical Images: Any use of historic imagery MUST be first approved by the museum’s Curator of Exhibits & Publications. Usage agreements for these materials vary greatly and often require special permission for use outside of the museum. Once an image is approved for use, it must include a credit line. Any editing to historical images should be in a very minimal capacity (cropping, color correction, and light restoration); anything more must be approved by the Curator. Work with the museum’s Curator of Exhibits & Publications to source the images, as well as to acquire usage permissions and the appropriate credit lines.
42 | IMAGE GUIDELINES
Web/Stock Images: At times, it may be necessary to seek outside sources for images. It can be extremely tricky to navigate the usage terms of images outside of the organization’s library, so be extremely careful to avoid unintentionally violating an image’s copyright. The best way to do this is to go through a reputable stock agency which provides a commercial license with their images. (A personal use license is not enough and does not provide the necessary permissions to use an image for organization use.) It is not appropriate to merely download an image from Google Images or Flickr (even with the “safe for reuse” filter checked; this filter often does not have sufficient information about the images to correctly categorize them). If you find an image through these or a similar avenue, you need to find the image source and determine if a license can be acquired; without a license or written agreement, using an image from the web will put both you and the organization at risk. Be sure to read the licensing / permissions agreement in its entirety before utilizing the image, and note that some licenses may restrict things such as editing or web versus print usage. Please work with the Graphic Designer or Director of Marketing if you are having trouble determining if an image is safe for use. When in doubt, do not use.
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44 | STATIONERY GUIDELINES
ORGANIZATION STATIONERY Every staff person will almost certainly need to utilize the organization stationery at one time or another. Some individuals will use it on a daily basis, while others will only need to employ it sporadically. Regardless, the business cards and letterhead are branded pieces that many staff will be using commonly and distributing, so it is very important to follow the organization guidelines.
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BUSINESS CARDS The organization’s updated business cards are very clean and modern. They are meant to present all of the essential contact information in a clear, concise manner. Only the marketing department has the authority to design and print cards for employees; do not edit, create, or print your own BCM business cards. •
Dimensions: 3.5” w x 2.5” h
•
Paper Stock: 16 pt matte, uncoated
46 | STATIONERY GUIDELINES
LETTERHEAD Similar to the business cards, the letterhead is designed to present the organization’s identity in as clear a manner as possible. This format should be used for any letters, contracts, or other formal outgoing communication. The header and footer should never be changed, with the exception of adding the applicable email address into the footer. •
Dimensions: Letter (8.5” w x 11” h)
•
Typeface: Mr. Eaves (or Calibri, reference pg. 34)
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48 | THE MARKETING TEAM
MARKETING TEAM For more information on the Birthplace of Country Music visual brand, please reach out to the marketing team:
KIM DAVIS Director of Marketing KDavis@BirthplaceofCountryMusic.org � 423-573-1927 Ext. 7702
HANNAH HOLMES Graphic Artist HHolmes@BirthplaceofCountryMusic.org � 423-573-1927 Ext. 7706
CHARLENE BAKER Marketing Specialist, Communications CBaker@BirthplaceofCountryMusic.org � 423-573-1927 Ext. 7705
THE BIRTHPLACE OF COUNTRY MUSIC P.O. Box 1927 | Bristol, VA 24203 (423) 573-1927 | BirthplaceofCountryMusic.org