The Block Brand Guidelines

INTRODUCTION

About

The Block Museum of Art (The Block) is a dynamic, imaginative, and innovative teaching and learning resource for Northwestern University and its surrounding communities, featuring a global exhibition program that crosses time periods and cultures and serves as a springboard for thought-provoking discussions relevant to our lives today. The museum also commissions new work by artists to foster connections between artists and the public through the creative process. Each year, The Block mounts exhibitions; organizes and hosts lectures, symposia, and workshops involving artists, scholars, curators, and critics; and screens classic and contemporary films at its in-house cinema. The museum also reaches national and international audiences through its traveling exhibitions, publications and website. Its growing permanent collection of approximately 6,000 works focuses primarily on prints, photography, and drawings.

The Block is at the heart of Northwestern’s Arts Circle. The Arts Circle unites visual and performing arts in one neighborhood, inspiring collaborations across art forms and underscoring the University’s commitment to the arts, together. See Appendix A for more information.

Why we have guidelines

These guidelines build on the foundation of the Northwestern master brand in order to highlight The Block’s uniqueness.

By maintaining a consistent brand through design and messaging, we can create compelling communications that simultaneously support our strategic priorities and increase recognition, awareness, and reputation.

If you have any questions or concerns about how to best use our brand guidelines, please contact:

Lindsay Bosch Marketing and Communications Manager

lindsay.bosch@northwestern.edu

BRAND PLATFORM

Mission

The Block Museum of Art enriches teaching and learning on the campuses of Northwestern University and in the communities of their surrounding regions by:

PRESENTING art across time, cultures, and media

CONVENING interdisciplinary discussions in which art is a springboard for exploring issues and ideas

COLLECTING art that supports the Northwestern curriculum

BRAND PLATFORM

Vision

TO ENGAGE

To be a dynamic, imaginative, and innovative teaching and learning resource at Northwestern through an artistic program that is a springboard for thought-provoking discussions relevant to the curriculum and to our lives today.

TO INSPIRE

To develop a new generation of artists, scholars, and arts professionals by providing experiential learning opportunities bridging the classroom and the world beyond the campus.

TO SERVE

To be a crossroad between campus and community, by creating an environment where all visitors feel welcome to participate.

BRAND PLATFORM

Nomenclature

OFFICIAL FULL NAME

“Mary and Leigh Block Museum of Art” is our official full name and is intended to be used in rare or ceremonial occasions.

FORMAL NAME

“The Block Museum of Art” is our formal name and should be used for the first mention in a publication or in any formal situation such as a press release.

SHORTHAND NAME

Colloquially, we refer to this institution as “The Block.” This shorthand is acceptable in all content where it’s apparent that the communication is coming from the museum, and anywhere the official full name has already preceded it. Using it can help lend a more conversational tone to communications.

WHAT TO AVOID

We should not be referred to as “ the Museum” as this term is too broad and casual to represent our institute.

BRAND PLATFORM

We know that our communications must STRIVE for excellence, innovation, criticality, and rigor in our work.

MANIFEST Northwestern’s unique strengths and resources and support its strategic goals, priorities, and values.

REFLECT the University’s commitment to diversity, equity and inclusion in all we do.

EMBODY a collaborative spirit and build our work from partnerships.

CELEBRATE art as a lived and relevant experience. WELCOME all voices and be generous to our visitors, and to one another.

IDENTITY

Lockup system

Our lockup system maintains the integrity of the master Northwestern wordmark and provides flexibility by offering four different versions:

• Horizontal Basic

• Vertical Basic

• Horizontal Shorthand

• Vertical Shorthand

BASIC LOCKUPS

Use for communications to international, national, and Chicagoland audiences.

SHORTHAND LOCKUPS

Only use for audiences closely familiar to the museum or if the full museum name is also visible in text.

Horizontal Basic

Vertical Basic

Horizontal Shorthand

Vertical Shorthand

IDENTITY

Lockup Colors

Our lockups can appear in four color variations: Northwestern Purple/Cool Gray 10, Northwestern Purple/black, white, and black.

PURPLE/COOL GRAY 10

Northwestern Purple and gray is the referred Northwestern color combination for most units and schools, therefore is recommended for stationary and combination for most units and schools, therefore is recommended for stationary and merchandise (shirt, mug, hat, etc.) in order to look a part of the University family.

GRAY CMYK: 40, 30, 20, 66

RGB: 99, 102, 106

Click here for Northwestern Purple color codes.

PURPLE/BLACK

Northwestern Purple and black allows our name to be more predominant. Use for most marketing materials (flyers, brochures, posters, etc.) where there are multiple visual elements.

WHITE

Use white when the wordmark appears on a dark background or over an image.

BLACK

Black is reserved for when color is not an option (i.e., newspaper ads).

IDENTITY

Sizes

MAXIMUM SIZES

There is no maximum size for our lockups (but must still follow exclusion zones - see next page).

MINIMUM SIZES

The sizes listed here are the minimum sizes our wordmarks can appear in any configuration.

72 pixels .75 inches

144 pixels

1.5 inches

72 pixels .75 inches

144 pixels

1.5 inches

IDENTITY

Exclusion Zones

Our lockups require a certain amount of space to maximize their presence. Exclusion zones prevent other graphic elements from interfering with their legibility or reproduction.

We have three exclusion zones—full, half, and quarter—based on the width and height of the capital N. The full and half are preferred. Use the quarter zone only when space is extremely limited. No type or graphics may appear within the exclusion zone.

CONSTRUCTION

The diagram below shows how our exclusion zones are constructed. Although the horizontal basic lockup is shown here, these measurements apply to all four versions.

FULL EXCLUSION ZONE (2N)

Use the full exclusion zone whenever possible.

HALF EXCLUSION ZONE (1N)

The half exclusion zone may be used for smaller applications, such as digital communications.

QUARTER EXCLUSION ZONE (.5N)

Use the quarter exclusion zone in cases of extremely limited space.

IDENTITY

Placement

There are five preferred placements for our wordmark in printed collateral:

• Top left

• Top centered

• Middle centered

• Bottom left

• Bottom centered

This approach brings consistency to our materials and creates a familiar system where our wordmark is easy to see and identify. The exact size and placement of the preferred areas will vary by format.

IDENTITY

Common Mistakes

It’s important that we be consistent in how we present our identity. Shown here are some common misuses of our wordmarks and lockups. To avoid these, always use the provided artwork without modification.

NORTHWESTERN

DON’T stretch, condense, or change the dimensions of the identity elements.

DON’T alter or replace the typefaces in the identity.

DON’T rearrange the elements of the identity.

DON’T change the scale of elements in the identity.

DON’T apply drop shadows or other visual effects to the identity.

DON’T change the color of the identity elements beyond the approved colors.

DON’T skew or warp the identity, or set it on an angle.

DON’T add extra elements to the identity.

Primary Color Palette

Beyond our logo, Northwestern Purple has the most brand equity of any of our visual elements. The hue is unique among our competitors and a significant identifier of our University as whole. As such, Northwestern Purple is our color palette — including tints and shades thereof.

This monochromatic system is bold, strong, and iconic, yielding singular communications that could come from nowhere but Northwestern.

Although our new color palette is based on Northwestern Purple, the predominant color in most layouts should be white. By incorporating plenty of white space, we ensure that our communications feel clean and modern. This guideline also helps us to be mindful of content length. Rather than viewing white space as a blank area, see it as a pause. Don’t rush to fill up a page—white space helps to focus attention on what is there.

NOTE: Rich black and its tints should be used in place of process black in all instances except body text. When setting text at sizes smaller than 12 points, process black and its tints should be used.

COLOR

Color Codes

Color code equivalents for Northwestern Purple and related tints are provided below. Color code choice depends on the intended output (print or digital). Using correct codes will ensure accurate color reproduction.

OUTPUT: COMMERCIAL PRINTING

Please note that CMYK tint values are different for coated and uncoated paper stocks; use the appropriate codes for correct reproduction.

CMYK on coated paper: Use these color codes when printing on coated paper, which has a smooth, hard surface that minimizes ink absorption. Coated color values will reproduce poorly if printed on uncoated stock.

CMYK on uncoated paper: Use these color codes when printing on uncoated paper, which is not as smooth as coated paper and absorbs more ink.

NOTE: If using spot color printing, you can create Northwestern Purple tints by going down in 10% increments.

OUTPUT: DIGITAL/OFFICE PRINTING

RGB: RGB color codes should be used when creating digital materials (online graphics, social media icons, presentations to be viewed on a monitor, etc.) or printing from a standard office printer.

Hex codes: Hex codes should be used when creating websites. However, because hex code equivalents do not exist for all the tint values, they will be featured in their own section (page 20).

PLASTIC OR FABRIC

Give your vendor the appropriate color swatch to ensure that the end product will match Northwestern Purple as closely as possible.

To obtain a swatch packet, please contact:

Erin Phipps Art Director Global Marketing and Communication erin.phipps@northwestern.edu

Northwestern Purple Color Codes

Northwestern Purple (100)

Uncoated Stock CMYK

84, 100, 0, 0

Uncoated Stock Pantone

Dark Blue 35.5, Rhodamine 36.5, Black 3, TRANS. WT. 25

RGB

078, 042, 132

Coated Stock CMYK

85, 100, 0, 15

Coated Stock Pantone

Process Blue 37, Rubine Red 61, Black 2

Shades Color Codes

COLOR

Hex Codes

All web communications should follow the limited brand color palette outlined here. These hexadecimal values have been optimized to best match our brand colors as they appear in print.

The monochromatic color palette is well-suited for digital applications, as consistency in user experience across multiple pages and sites is of utmost importance.

Northwestern Purple # 4E2A84

Rich Black 80 # 342F2E

NU Purple 30 # B6ACD1

Rich Black 20 # BBB8B8

NU Purple 120 # 4 01F68

NU Purple 60 # 836EAA

Rich Black 50 # 716C6B

NU Purple 10 # E4E0EE

Rich Black 10 # D8D6D6

Secondary Palette

Although our color system is monochromatic, we understand that each exhibit should have its own unique look and feel. For those instances, we have developed this set of secondary colors that may be used at full 100% value or as tints.

NOTE: Collateral specific to The Block (and not an exhibit) should follow our primary palette and use the secondary palette sparingly.

COLOR

Usage - General

For communication materials that represent The Block as a whole (and not a specific exhibit) use the diagrams here as a guide when balancing the ratio of white space, Northwestern Purple, and the rest of the palette.

Although we have a new color palette based on Northwestern Purple, the predominant color in most layouts should be white. With plenty of white space, our communications feel clean and modern. Plus, this guideline helps us to be mindful of our content’s length.

LEFT: Color usage guidance when not using a secondary color

Right: Color usage guidance when it is beneficial to use a secondary color

75% White

75% White

70% White

15% Northwestern Purple

5% Purple Tints & Shades

2.5% Black

2.5% Black Tints

15% Northwestern Purple

5% Purple Tints & Shades

5% Secondary Color Palette

2.5% Black

2.5 % Black Tints

COLOR

Usage - Exhibit

Each exhibit should have its own look and feel. Therefore, these pieces can incorporate more of the secondary palette into the design.

Use the diagram here as a guide when balancing the ratio of white space, Northwestern Purple, and the secondary palette.

NOTE: Even though each exhibit should look unique from each other, they should still look like they are a part of the overall museum branding.

75% White

75% White

12.5% Secondary Color Palette

10% Northwestern Purple

2.5% Black

TYPOGRAPHY

Overview

When it’s used thoughtfully, typography becomes a powerful brand tool that can add visual meaning to what’s being said. Flexibility comes from using a variety of type families that bring different strengths and personalities, depending on how they are used.

Our University typefaces— Campton, Periódico Display, Periódico Text, and Akkurat Pro— have been selected because of their structure and relationship to one another, as well as their legibility at a variety of sizes.

Our brand fonts are unique and embody the essence of our communications goals. We have purchased the rights to use them for University purposes on the web and in print. Global Marketing and Communications works with each school and unit to ensure that the graphic design staff have access to these fonts.

Campton

Campton is our display face. It works best for headlines and subheads, at 17 points or larger. All weights of the font are appropriate for use in headlines. Due to the geometric nature of the characters, it’s not recommended for subheads smaller than 17 points, body copy, or captions.

Akkurat Pro

Akkurat Pro is our typographic workhorse. We can use it in a variety of ways: for smaller headlines, body copy, and captions — it even works well for charts, graphs, and displaying all sorts of data. It is a highly legible, cleanly constructed face that is suitable at sizes from 5 points to 19 points.

NOTE: There is no Akkurat Light Italic. If you need to italicize this weight, manually add an angle of 7.5 degrees when using software from the Adobe Creative Suite.

Capitals— 38. pt

Lowercase— 38. pt 00123456789 !@#$%^&*({[/“

Numerals, Punctuation, and Glyphs — 38. pt

Periódico Display

The Periódico family P eriódico Display and Periódico Text contains our serif faces. Periódico Display, as the name suggests, is best suited for use at display sizes of 17 points or greater. The exaggerated thicks and thins of the characters make it a more dynamic option for headlines.

Periódico Text

The more reserved of the Periódico typefaces, Periódico Text is meant to be used for longer chunks of copy at smaller sizes. Its more balanced construction allows for greater legibility, even at smaller sizes. Use Periódico Text for body copy from 5 points up, and for subhead and captions up to 15 points.

Lowercase—

TYPOGRAPHY

Default Font Substitutes

Our brand fonts may not always be available for use in Word documents, PowerPoint presentations, and other digital applications. This page offers appropriate substitutes.

NOTE: Campton is a display face with a lot of personality. There’s no appropriate PC alternative.

ARIAL is the acceptable substitute for Akkurat.

GEORGIA is the acceptable substitute for Periódico Display and Text.

BRAND FONT

Akkurat Light

Akkurat Light Italic

Akkurat Regular

Akkurat Regular Italic

Akkurat Bold

Akkurat Bold Italic

SUBSTITUTE FONT

Arial Regular

ABCDEFGHIJKLMN

OPQRSTUVWXYZ abcdefghijklmno

pqrstuvwxyz 1234567890?!.,

Arial Bold

ABCDEFGHIJKLMN

OPQRSTUVWXYZ

abcdefghijklmno

pqrstuvwxyz 1234567890?!.,

Arial Italic

ABCDEFGHIJKLMN

OPQRSTUVWXYZ abcdefghijklmno pqrstuvwxyz 1234567890?!.,

Periódico Thin

Periódico Thin Italic

Periódico Ultra Light

Periódico Ultra Light Italic

Periódico Extra Light

Periódico Extra Light Italic

Periódico Light

Periódico Light Italic

Periódico Regular

Periódico Regular Italic

Periódico Medium

Periódico Medium Italic

Periódico SemiBold

Periódico SemiBold Italic

Periódico Bold

Periódico Bold Italic

Periódico Black

Periódico Black Italic

Periódico Ultra Black

Periódico Ultra Black Italic

Georgia Regular

ABCDEFGHIJKLMN

OPQRSTUVWXYZ

abcdefghijklmno

pqrstuvwxyz

1234567890?!.,

Georgia Bold

ABCDEFGHIJKLMN

OPQRSTUVWXYZ

abcdefghijklmno

pqrstuvwxyz 1234567890?!.,

Georgia Italic

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmno pqrstuvwxyz 1234567890?!.,

Georgia Bold Italic

ABCDEFGHIJKLMNO

PQRSTUVWXYZ abcdefghijklmno pqrstuvwxyz 1234567890?!.,

Usage Tips

Using type thoughtfully is crucial to making our designs look professional. Follow these tips to make sure our typography is consistent.

LEADING

Line spacing, called leading, is critical to setting professionallooking type that’s easy to read. Leading should be set tight, but not too tight. All our typefaces generally look best with leading set slightly looser than the default.

NOTE: A good rule of thumb is to start with leading that is two points higher than the point size of the text. This won’t always be right, but leading can be adjusted most easily from there.

TRACKING

Correct letter spacing, called tracking, also helps to make the type easy to read. Outside of headlines, our typefaces should always be tracked slightly tighter than the default setting, and optical kerning should be used when available.

Leading that is too loose leaves too much pause between lines.

16 pt. type / 24 pt. leading

Leading that is too tight leaves too little pause between lines.

16 pt. type / 14 pt. leading

16 pt. type / 18 pt. leading

Tracking that is too loose leaves too much space between letters.

+75 tracking

Tracking that is too tight leaves too little space between letters.

-75 tracking

When tracking is correct, the reader won’t even notice.

-5 tracking

When leading is correct, the reader won’t even notice.

TYPOGRAPHY

Usage Tips

LEFT JUSTIFIED

When copy length allows, left justify body copy to create a clean and modern look.

NOTE: Manual tracking for copy may be needed.

This exhibition will consist of a tightly focused selection of approximately 40 photographs from two related bodies of works—the 2005-08 series

Unbranded: Reflections in Black by Corporate America and the 2015 series

Unbranded: A Century of White Women 1915-2015, which draw directly from the visual repertoire of American print advertising.

Left justified

This exhibition will consist of a tightly focused selection of approximately 40 photographs from two related bodies of works—the 2005-08 series

Unbranded: Reflections in Black by Corporate America and the 2015 series

Unbranded: A Century of White Women 1915-2015, which draw directly from the visual repertoire of American print advertising.

Aligned left

TYPOGRAPHY

Typography Theme - General

For communication materials that represent The Block (and not a specific exhibit), use these typography recommendations as a guide.

PROMOTIONAL/MARKETING

(i.e., “Campus Art Walk” brochure)

Titles or headers Campton Bold

Increase tracking when using Campton Bold in all caps

Subheads Akkurat Bold

Body Akkurat Light

FORMAL

(i.e., grant proposal)

Header Periódico Text Medium

Body Periódico Text Light

COLOR

Predominately, text should be in our primary color palette (Northwestern Purple, including shades and tints, white, black) when appropriate. Use the secondary palette sparingly for general communication pieces.

Campton Bold

Periódico Text Medium

CAMPUS ART WALK

TYPOGRAPHY

Typography Theme - Exhibit

Each exhibit should have their own visual identity, yet still have The Block look and feel.

HEADERS AND SUBHEADS

Exhibit titles, headers, and subheads can utilize all of our font resources (Campton, Periódico Display, Periódico Text, and Akkurat Pro) in any weight.

BODY

Use Akkurat Light for body copy.

COLOR

The full primary and secondary color palettes may be used.

NOTE: Keep each exhibit font and color consistent among all marketing materials. For instance, if you chose the first exhibit treatment option on the right side of the page then all of this exhibit’s materials would be branded in the same manner.

TREATMENT VARIETY EXAMPLES

Campton Thin, Black

HANK WILLIS THOMAS

UN BRAND ED

Campton Thin, Bright Green from secondary palette

Campton SemiBold, Black

Periódico Display UltraBlack, Black

UN BRAND ED

HANK WILLIS THOMAS

Periódico Display Thin Italic with strikethrough, Dark Orange from secondary palette

Periódico Text Light, Black

GRAPHIC ELEMENTS

Overview

Like our lockup and color palette, The Block’s graphic elements will become identifiable as they are used consistently and clearly. With these elements, the graphic language can carve out its own unique look and personality, while still feeling like part of the overall Northwestern master brand.

The Block has its own unique graphic element, in addition to three University-wide assests.

GRAPHIC ELEMENTS

The B

Created by cutting out the capital B in the lockup from a square, the B can be used as a shorthand visual representation of The Block. The B serves as a complement to the lockup and should never be used on its own.

COLOR

The B can appear in Northwestern Purple and white (on a Northwestern Purple background or over an image where the B is clearly legible).

IMAGE OVERLAY

The B can serve as a frame where artwork can be placed inside. When using an artist’s photo, please ensure you receive approval for the art to be used in this manner.

Image: Bonnie MacLean, “The Yardbirds, The Doors, Fillmore Auditorium; San Francisco, July 25-30 1967”, 1967, Offset lithograph, Collection of Charles Deering McCormick Library of Special Collections, Northwestern University, courtesy of the artist. Used for demonstration of overlay techniques.

GRAPHIC ELEMENTS

The B OPACITY

When used as a watermark, you may drop down the opacity of the B to 5% when text is or will be over the graphic element (i.e., postit, notepad paper) and 10% when text is below the B (i.e., e-blast header). PATTERN

The B pattern is available in purple and white. When using a pattern, the lockup must be in proximity and clearly legible.

DOWNLOAD PATTERNS

5% Opacity 10% Opacity

Purple pattern

White pattern

GRAPHIC ELEMENTS

Usage REVEAL

The B can be featured predominately on the front of marketing materials or merchandise, while the lockup is on the back, when intended to provoke a sense of curiosity and interest to the viewer.

Front Back

GRAPHIC ELEMENTS

Usage

UNIFIED

In instances when the B and the lockup need to appear in the same view, follow these four recommended layouts.

EXAMPLE LAYOUTS

NOTE: The lockup is required on all collateral, the B is not.

CAMPUS ART WALK CAMPUS ART

CAMPUS ART WALK

WALK

Campus Art Walk

GRAPHIC ELEMENTS

Incorrect Usage

When the B is featured, The horizontal or vertical “The Block Museum of Art” lockup must appear on the collateral; however, they should not be placed together to prevent the B and the lockup looking like a singular logo.

REMINDER: The lockup is required on all collateral, the B is not.

GRAPHIC ELEMENTS

University graphic elements

The Northwestern master brand has a number of graphic elements that can be used to create continuity among the different University entities.

SLASH

The slash is derived from the “N” in the Northwestern wordmark and can be used as a copy-connector and as a supergraphic.

FACETS

Facets are all about interesting connections and overlapping pathways. They serve well as background textures or in infographics, connecting disparate points of information.

RULES

Rules are a great way to establish hierarchy, to guide navigation within a layout, to emphasize a word or phrase, or to set page borders and organize content.

GRAPHIC ELEMENTS

Slash CONNECTOR

The slash can be used to connect two pieces of information. Those things could be different majors, different locations, different theories, different job titles, and more. The effect should emphasize the multidimensional people and the collaboration that happens at Northwestern and The Block. Avoid breaking or ending a line with this treatment.

SUPERGRAPHIC

Used in layers to crop photos and add subtle design detail, the slash can also appear as a supergraphic to add interest to compositions. It works best when it bleeds off the page, in multiple layers.

Admissions Viewbook

Daily Inspiration

GRAPHIC ELEMENTS

Facets

BACKGROUND

In their most simplistic use, facets can be a background element, adding a full range of tones to a layout. In this application, the facets work best at full bleed.

NOTE: The colors of the individual surfaces can be changed to any of the Northwestern Purple tints or shades. Use the tint or shade codes for the intended output (print- coated or uncoated, or digital).

CREATING FACETS

Facets can be created using the pen tool in Adobe Creative Suite programs.

Program Ad

Street Banners

GRAPHIC ELEMENTS

Rules

WEIGHT

Even though rules look rather simplistic, applying them thoughtfully can elevate a design. One easy method is to use a common weight throughout an entire piece of collateral. Another is to make sure the weights match another design element in a layout, for example, the weight of text.

NOTE: For standard print pieces (approx. 8.5” x 11”), rule weight should most commonly be set to 1 or 2 points and should not exceed 5 points. This rule of thumb can be scaled up proportionally for larger pieces.

DASHED RULES

Dashed rules are a great way to show progress charted, or to differentiate some pathways from others. A common ratio for the dashes and gaps should be used as the rules are scaled up or down. At 1 point, dashes should measure 12 points and gaps should measure 7 points. At 2 points, dashes should measure 24 points and gaps should measure 14 points, and so on.

Overview

Our image library should reflect the diverse, collaborative, and interdisciplinary experiences we offer at The Block. The photos in this category include students, faculty, staff, alumni, community members, and distinguished guests, interacting and engaging in our space.

DETAILS

Images of people should feel candid, natural, and in the moment, never posed or generic. The subject should not typically be looking directly at the camera.

Natural light should be used whenever possible. Single students should never seem lonely, but rather contemplative or interactive. Capturing a sense of curiosity, interest, or discovery is a great way to do this.

Northwestern is a diverse place, filled with different races, cultures, mindsets, and abilities. Be mindful of this when documenting our community.

NOTE: For an editorial-style portrait or head shot that’s required for a specific project, it’s acceptable for the subject to be looking at the camera.

PRINT RESOLUTION

For all printed materials, images should have an actual resolution of 300 PPI, and an effective resolution of at least 300 PPI, at a maximum of 100% scale.

These values can be checked in the Link Info menu of the Links panel in Adobe InDesign.

WEB BEST PRACTICES

SIZE: The largest layout breakpoint is 1440px wide (desktop). For viewport-width images, ensure that the image is at least 1440px wide (preferably larger) to maintain crispness and readability. Higher-res images are encouraged for all image sizes, as Retina or other high-pixel-density displays are becoming more ubiquitous.

FOCAL POINT: Images work best if there is a main point of focus. With responsive layouts, image containers can vary in size from device to device, and having a focal point ensures that the image subject is conveyed correctly at all sizes.

TYPE OVER PHOTOS: Much of the Northwestern.edu design features viewport-width images with headlines overlaid. Even with a semi-transparent black overlay, photos that are too busy render the text unreadable. For these large feature images, avoid photos with too much contrast or too many details.

APPLICATION INSPIRATION

Stationery

LETTERHEAD

All University entities follow the same letterhead template. Print and digital letterhead can be ordered through iBuyNU Marketplace.

Click here for order instructions.

FILE TYPE

Microsoft Word

SIZE

8.5 x 11 in

DESIGN OPTIONS

• Standard letterhead

• Letterhead with B watermark

RECOMMENDED TYPOGRAPHY

• Periódico Text Regular

• Black

• 10.5 pt

• 1.15 line spacing

Option

APPLICATION INSPIRATION

Stationery

ENVELOPES

All University entities follow the same letterhead template. Envelopes can be ordered through iBuyNU Marketplace.

SIZES

• #10 (9.5 × 4.125 in)

• 9 x 12 in

• 10 x 13

APPLICATION INSPIRATION

Stationery

BUSINESS CARDS

All University entities follow the same business card template. Business cards can be ordered through iBuyNU Marketplace.

Firstname Lastname

Title

The Block Museum of Art

Northwestern University

The Block Museum of Arts

40 Arts Circle Drive

Evanston, Illinois 60208

email@northwestern.edu

Office 000. 000. 0000

Additional contact line if needed

APPLICATION INSPIRATION

Stationery

POST-ITS AND NOTEPAD

• Horizontal basic lockup in Northwestern Purple and Cool Gray 10

• B opacity at 5%

For information regarding how to order, please contact Ellen Barnes, Trademark Licensing & Auxiliary Services Manager.

APPLICATION INSPIRATION

Stationery

FOLDERS - WHITE

OPTION 1

• Horizontal basic lockup in Northwestern Purple and Cool Gray 10

• B in Northwestern Purple

OPTION 2

• Vertical basic lockup in Northwestern Purple and Cool Gray 10

• B pattern (pattern has B at 10% opacity)

For information regarding how to order, please contact Ellen Barnes, Trademark Licensing & Auxiliary Services Manager.

Option 1 - Front

Option 2 - Front

APPLICATION INSPIRATION

Stationery

FOLDERS - PURPLE

OPTION 1

• Horizontal basic lockup in white

• B in white, opacity at 100%

OPTION 2

• Vertical basic lockup in white

• B pattern

For information regarding how to order, please contact Ellen Barnes, Trademark Licensing & Auxiliary Services Manager.

Option 1 - Front

Option 2 - Front

APPLICATION INSPIRATION

Stationery

JOURNAL

B and vertical basic lockup with an inner bevel

Front

Back

APPLICATION INSPIRATION

Stationery

MISC. OFFICE SUPPLIES

POSTAGE STAMPS

Available through PhotoStamps, PictureItPostage, and Zazzle

INK STAMP

Stamps available in wood, rubber, pre-ink, and self-ink

PEN

Curvy Classic Ball Pen (34712) in purple

For information regarding how to order, please contact Ellen Barnes, Trademark Licensing & Auxiliary Services Manager.

APPLICATION INSPIRATION

Stationary Family Example

APPLICATION INSPIRATION

Merchandise

MUG

OPTION 1

• 10 oz. Budget Mug in White

• B in Northwestern Purple

• Vertical basic lockup in Northwestern Purple and Cool Gray 10

OPTION 2

• Purple (receive mug sample to ensure it closely matches Northwestern Purple)

• B in white

• Vertical basic lockup in white

For information regarding how to order, please contact Ellen Barnes, Trademark Licensing & Auxiliary Services Manager.

Option 1 - Front

Option 1 - Back

Option 2 - Front

Option 2 - Back

APPLICATION INSPIRATION

Merchandise

SHIRTS

OPTION 1

• District Concert Tee in purple

• B in white

• Vertical basic lockup in white

OPTION 2

• District Concert Tee in white

• B in Northwestern Purple

• Vertical basic lockup in Northwestern Purple and Cool Gray 10

VENDOR CONTACT

BobbyH@overturepromo.com

Option 1 - Front

Option 1 - Back

Option 2 - Front

Option 2 - Back

APPLICATION INSPIRATION

Merchandise

HATS

OPTION 1

• FlexFit ATB100 in purple

• White embroidered B and lockup

OPTION 2

• FlexFit ATB100 in white

• Robison Anton 5803 (deep purple)

embroidered B and lockup

VENDOR CONTACT

BobbyH@overturepromo.com

APPLICATION INSPIRATION

Merchandise

TOTES

OPTION 1

• White canvas tote

• B in Northwestern Purple

• Vertical basic lockup in Northwestern Purple and Cool Gray 10

OPTION 2

• Purple canvas tote

• B in white

• Vertical basic lockup in white

For information regarding how to order, please contact Ellen Barnes, Trademark Licensing & Auxiliary Services Manager.

Option 1 - Front

Option 1 - Back

Option 2 - Front

Option 2 - Back

APPLICATION INSPIRATION

Merchandise

TOTES

OPTIONS 3 & 4

• Examples of art placed inside of the B

OPTIONS 5 & 6

• Examples of the B placed on top of art graphic

For information regarding how to order, please contact Ellen Barnes, Trademark Licensing & Auxiliary Services Manager.

Option 3 - Front

Option 4 - Front

Option 5 - Front

Option 6 - Front

APPLICATION INSPIRATION

Merchandise

PHONE SKIN

DESIGN

• Purple B pattern

• Vertical basic lockup in white

APPLICATION INSPIRATION

Merchandise Family Example

APPLICATION INSPIRATION

Digital

WEBSITE

•

Northwestern branded template

• Lockup header that switches to the B when rolled over

Click here to view animation.

APPLICATION INSPIRATION

Digital SOCIAL MEDIA

TWITTER

• Purple or white profile image options

• Update display name to “The Block Museum of Art”

Click here to learn how to change your display name (Twitter recently changed it from 20 to 50 characters).

NOTE: Keep the profile photo between social platforms (i.e., Twitter, Facebook, Instagram) consistent.

Option 1

Option

APPLICATION INSPIRATION

Digital SOCIAL MEDIA

FACEBOOK

• Purple or white profile image options

• Update display name to “The Block Museum of Art”

Click here to learn how to change your Facebook display name.

NOTE: Keep the profile photo between social platforms (i.e., Twitter, Facebook, Instagram) consistent.

Option 1

Option 2

APPLICATION INSPIRATION

Digital SOCIAL MEDIA

INSTAGRAM

• Purple or white profile image options

• Update display name and description to “The Block Museum of Art”

Click here to learn how to change your Instagram display name.

NOTE: Keep the profile photo between social platforms (i.e., Twitter, Facebook, Instagram) consistent.

Option 2

Option 1

APPLICATION INSPIRATION

Digital

E-BLAST

HEADER

• Horizontal basic lockup in white

• Northwestern Purple background

BODY

• Headlines - Arial Bold

• Body copy - Arial

FOOTER

• Horizontal basic lockup in white or “The Block Museum of Art” in text

• Arts Circle lockup

• Northwestern Purple background

NOTES:

• Social media icon placement dependent on e-marketing service

• Upload images at 600px wide (300 PPI) in order to fit e-marketing specs

APPLICATION INSPIRATION

APPLICATION INSPIRATION

Quarterly Print

EXHIBITION FLYER - FRONT

FILE TYPE

InDesign SIZE

6 x 9 in

DESIGN

• White space for modern and legible design, while also allowing the art to be the focal point

• Use template to keep consistent visual theme among all exhibits

• Freedom to use brand fonts and secondary colors for exhibit title and date

• Lockup in Northwestern Purple/Black

• B in Northwestern Purple

PAPER RECOMMENDATION

NOTE: Keep each exhibit font and color consistent among all of its marketing materials.

APPLICATION INSPIRATION

Quarterly Print

EXHIBITION FLYER - BACK

TYPOGRAPHY

• Body copy - Akkurat Light for (when you need to italicize use 7.5 degree angle)

• Subhead - Akkurat Bold in the corresponding secondary color used in the exhibit title (i.e., opening celebration subhead)

ARTS CIRCLE LOCKUP:

The Block is a member of the The Arts Circle. The Arts Circle lockup should be used on be used on event materials as a way to signify the belonging to a broader “Arts Together” positioning. See Appendix A for more information.

APRIL 14 - AUGUST 12, 2018

This exhibition will consist of a tightly focused selection of approximately 40 photographs from two related bodies of works—the 2005-08 series

Unbranded: Reflections in Black by Corporate America and the 2015 series

Unbranded: A Century of White Women 1915-2015, which draw directly from the visual repertoire of American print advertising.

OPENING CELEBRATION - SATURDAY, APRIL 14

10AM Title, title, title

Description here Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint.

2PM Title, title, title

Description here Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint.

FREE AND OPEN TO ALL The Block Museum of Art Northwestern University 40 Arts Circle Drive, Evanston, IL 60201

@nublockmuseum 847. 491. 4100 blockmuseum.northwestern.edu

DOWNLOAD TEMPLATE

APPLICATION INSPIRATION

Quarterly Print

CINEMA FLYER - FRONT

FILE TYPE

InDesign

SIZE

6 x 9 in

DESIGN

• White space for modern design and allows photo to be the focal point

• Layout is reminiscent of a widescreen display

• Use template to keep consistent visual theme among all cinema flyers

• Lockup in Northwestern Purple/Black

• B in Northwestern Purple

TYPOGRAPHY

• “THE BLOCK” - Akkurat Bold

• “CINEMA presents” - Akkurat Light

• Headline - Campton Bold in Northwestern Purple

NOTE: Keep film title consistent among all materials

THE BLOCK CINEMA presents Inextinguishable Fire: Harun Farocki Perspective

APPLICATION INSPIRATION

Quarterly Print

CINEMA FLYER - BACK

TYPOGRAPHY

• Campton Bold in Northwestern Purple for film title

• Use Akkurat Light for body copy (when you need to italicize use 7.5 degree angle)

• Akkurat Bold Italic for cinema titles

Inextinguishable Fire: Harun Farocki Perspective

Over nearly 50 years, German documentary filmmaker and essayist Harun Farocki (1944-2014) created more than 100 bold, playful, and cerebral films, videos, and installations. His astute and brilliant observations of the contradictions of German society, politics, and economics, and how these national issues are situated in a global context, quickly distinguished him as a unique and passionate critical voice in world cinema. The film series, Inextinguishable Fire, provides a concise introduction to the work of this prolific artist through a representative cross-section of his films, from his rebellious 1960s agit-prop short films to later works—biting critiques of the media, consumerist society, and representations of war. This series showcases an artist whose insatiable curiosity and relentlessly skeptical views on German and international politics and society are already sorely missed only four years after his death.

Presented in collaboration with the Goethe Institute and the Northwestern University Department of German.

Front:Still from Images of the World and Inscription of War (1988)

FREE AND OPEN TO ALL

The Block Museum of Art Northwestern University 40 Arts Circle Drive, Evanston, IL 60201

All shows at 7pm, FREE

Europe is Burning - Friday, February 9

This program features several of Farocki’s earliest films, made at a time when his work was at its most overtly political.

The Words of the Chairman (1967, 3 min.) Their Newspapers (1968, 17 min.) White Christmas (1968, 3 min.) Inextinguishable Fire (1969, 25 min.)

All-Consuming Shopping Worlds - Thursday, February 22

The two films in this program exemplify one of Farocki’s frequent interests: the capitalist production, marketing, and consumption of goods and services. A Day in the Life of a Consumer (1993, 44 min.) The Creators of the Shopping Worlds (2001, 72 min.)

Catch Phrases—Catch Images - Thursday, March 1

The ways in which reality is shaped by media is the connecting subject of these two works.

Catch Phrases Catch Images:A Conversation with Vilem Flusser (1986, 13 min.)

Blind Spots of Memory - Thursday, March 8

Videograms of a Revolution (1992, 106 min.)

The limitations of historical memory, and the insufficiency of historical documentation to accurately reflect history, are at the center of these two films that focus on war.

Images of the World and the Inscription of War (1998, 75 min.) Respite (2007, 40 min.)

APPLICATION INSPIRATION

Quarterly Print

SEASONAL EVENT ONE-SHEET

FILE TYPE

InDesign

SIZE

8.5 x 11 in

TYPOGRAPHY

• Header - Campton Bold in Northwestern Purple

• Exhibit Name - Akkurat Bold

• Body Copy - Akkurat Light

Hank

Spring 2018 Exhibits

Pop América: Contesting Freedom, 1965-1975 September, 9 - December 8, 2018 Main Gallery

Pop América will feature nearly 100 works by a network of Latino/a and Latin American Pop artists connecting Argentina, Brazil, Chile, Colombia, Cuba, Mexico, Peru, Puerto Rico and the United States, introducing new historical frameworks that will reshape debates over Pop’s political neutrality, social inclusiveness and aesthetic innovations in the United States. The artists in the exhibition create a vital dialogue that crosses national borders, and include Judith Baca, Luis Cruz Azaceta, Jorge de la Vega, Andy Warhol and Roy Lichtenstein, among others. United by the common use of Pop’s rich visual strategies, the artists made bold contributions to conceptualism, performance and new media art, as well as social protest, justice movements and debates about freedom.

Break A Rule: Ed Paschke’s Art and Teaching

September, 18 - December 9, 2018 Katz Gallery

Ed Paschke (1939–2004) often began his classes with the assignment to “break a rule.” A bold innovator who enjoyed disrupting conventions, Paschke mentored students at over two and a half decades at Northwestern University to think outside the box. The exhibit is organized around three tenets at the core of Ed Paschke’s teaching and artistic practices: learn the rules in order to break them, trust your instincts, and get out of your comfort zone. While Paschke taught his students basic techniques in painting and drawing, he also encouraged them to break rules and create something entirely their own.

amembe of

APPLICATION INSPIRATION

Quarterly Print

SEASONAL EVENT PROGRAM - COVER

SIZE

5 x 7, 6 x 9, or 8 x 10 in

DESIGN

• Die-cut B on cover

• Embossed horizontal lockup

• First page to feature a striking image from one of the season’s exhibits

TYPOGRAPHY

• Season and year - Akkurat Regular

• Photo credit - Akkurat Light italicized

• Right-page footer “THE BLOCK” - Akkurat Bold

• Right-page footer “MUSEUM OF ART”Akkurat Light

DOWNLOAD TEMPLATE

7.5906 in

APPLICATION INSPIRATION

Quarterly Print

SEASONAL EVENT PROGRAM - INSIDE

DESIGN

• White space for modern design

• Vibrant photography to peak viewer interest

• The season’s main exhibit predominately featured use same imagery as the exhibit flyer

• Additional exhibits featured

• Sections by category with information and photography (i.e., Cinema)

TYPOGRAPHY

• Section header - Campton Bold (use secondary colors for different sections)

• Titles - Akkurat Bold

• Body copy- Akkurat Light (italicize exhibit names in body copy)

• Left-page footer “blockmuseum”Akkurat Bold

• Left-page footer “.northwestern.edu”Akkurat Light

APPLICATION INSPIRATION

Quarterly Print

SEASONAL EVENT PROGRAM - BACK

DESIGN

• Embossed B

TYPOGRAPHY

• Website URL - Akkurat Regular

APPLICATION INSPIRATION

APPLICATION INSPIRATION

General Print

CAMPUS ART WALK BROCHURE

SIZE

6 x 10 in

TYPOGRAPHY

• Cover - Campton Bold

• Back headline - Campton bold

• Back copy- Akkurat Light

CAMPUS ART WALK

Always free and open to all For hours and information visit blockmuseum.northwestern.edu

APPLICATION INSPIRATION

General Print

CAMPUS ART WALK BROCHURE - INSIDE

TYPOGRAPHY

• Numbers - Campton Bold

• Sculpture title - Akkurat Bold Italic

• Sculpture year - Akkurat Bold

• Artist name - Akkurat Regular

• Body copy - Akkurat Light

• Gift /donation - Akkurat Light italicized

Resting Leaf, 1959

Hans (Jean) ARP (German-French, 1886-1966)

Cast bronze with brown patina

Gift of Leigh B.Block,1988

Interior Form, 1981

Henry Moore (British, 1898-1986)

Cast bronze with green patina

Gift of Leigh B.Block,1988

Two Forms (Divided Circle), 1969

Barbara Hepworth (British, 1903-1975)

Cast bronze with brown patina

Gift of Leigh B.Block,1988

Curved Form, 1961

Barbara Hepworth (British, 1903-1975)

Cast bronze with green and brown patina and stainless steel strings

Gift of Leigh B.Block,1988

Man Passing Through the Door, 1966

Jean Robert Ipoustéyguy (French, 1920-2006)

Cast bronze with brown patina

Gift of Leigh B.Block,1988

Untitled, 1979

Peter Reginato (American, born 1945)

Cast bronze with brown patina

Gift of Selig D.Sacks in honor of Saul and Juanita Kaye,1987)

Armonia, 1963

Peter Reginato (American, born 1945)

Cast bronze with green patina

Donated in memory of Albert Pick Jr., Pending installation 2018

Prism in Two Elements, 1979-80

Virginio Ferrari (Italian, born 1937)

Cast bronze with green patina

Donated in memory of Albert Pick Jr., Pending installation 2018

APPLICATION INSPIRATION

General Print

TEACHING AND LEARNING BOOKLET

SIZE

8 x 8 in

TYPOGRAPHY

• Cover - Campton Bold

• Photo credit - Akkurat Light italicized

• “FREE AND...” - Akkurat Bold

• Back copy- Akkurat Light

Teaching and Learning

APPLICATION INSPIRATION

General Print

TEACHING AND LEARNING BOOKLET - INSIDE

TYPOGRAPHY

• Photo headline - Akkurat Bold

• Quote - Akkurat Light and Akkurat Bold

• Headline - Campton Bold

• Subhead - Akkurat Bold

• Body copy - Akkurat Light

APPLICATION INSPIRATION

General Print

ABOUT THE BLOCK BROCHURE

SIZE

• Trifold (8.5” x 11” flat)

DESIGN - FRONT

• Facet design implemented with photography that is representative of The Block’s multidimensionality

• Horizontal basic lockup in Northwestern Purple/black

• B at 10% opacity

TYPOGRAPHY

• Headline - Campton Bold

• Body copy - Akkurat Light

DOWNLOAD TEMPLATE

APPLICATION INSPIRATION

APPLICATION INSPIRATION

Annual ANNUAL REPORT

SIZE

8.5 x 11 in

DESIGN

• Photo as focal point

• The slash graphic element used as a supergraphic

TYPOGRAPHY

• Year - Akkurat Light

• Header - Campton Bold

• “blockmuseum” - Akkurat Regular

• “.northwestern.edu” - Akkurat Light

DOWNLOAD TEMPLATE

blockmuseum.northwestern.edu

APPLICATION INSPIRATION

Misc. Print

EXHIBIT BOOKS

DESIGN

• Cover reminiscent of exhibit flyer design

• Spine features the exhibit name, the B, and the secondary color consistent with the exhibit collateral design

TYPOGRAPHY

• Body copy - Periódico Text Regular

• Headlines and subheads can match exhibit collateral fonts or Periódico Bold

COLOR

• Use the same secondary color/colors used in the exhibit’s collateral design, when needed

APPLICATION INSPIRATION

Development

DONOR B BLOCKS

Donors receive B block based on donation level

APPLICATION INSPIRATION

Environmental

STEP AND REPEAT

APPLICATION INSPIRATION

Environmental

GALLERY TYPOGRAPHY

For consistency, use the same typography used on marketing collateral in the exhibit space

APPENDICES

APPENDIX A

Arts Circle

The Arts Circle lockup should be featured on marketing collateral. Using the Arts Circle mark allows The Block to take advantage of the broader marketing umbrella, as positioned by the various Arts Circle campaign materials.

It is recommended to use the text and lockup below on the bottom of single-sided flyers (and e-blasts) and on the backside of doublesided flyers.

The lockup can be featured on the inside page of more in-depth communications, such as the seasonal program.

Depending on the communication piece, you may need the lockup in another orientation or color. See the link below to download all available Arts Circle lockups.

APPENDIX B

Editorial Style