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1 0 6 - 1 1 4 S H A K E S P E A R E S T R E E T, S O U T H P O R T, U K +44 1704 501336
L AW N M OW E R M U S E U M .C O M
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I N T R O D U CT I O N
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A F O U N D AT I O N
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I N O U R N AT U R E
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V I S U A L SYST E M
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C O LO P H O N 4
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HEY THERE The purpose of this book is to act as a guide to the brand standards of the British Lawnmower Museum, as well as an expression of that very same branding. Within these pages, you will find out who we are, what we stand for, and how those fundamental truths affect every part of what we do. Our hope is that as you read, you will not only gain practical knowledge, but also feel inspired to celebrate the mundane in your everyday life.
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A FO 7
OUN who is the British Lawnmower Museum and why are we important?
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THE MUSEUM Located in Southport, England, the British Lawnmower Museum is dedicated to the history of the lawnmower and its importance to British engineering history. With over 300 restored exhibits of garden machinery from over the last 200 years, the museum possesses the world's largest collection of vintage lawnmowers. A highlight is our exhibit of lawnmowers previously owned by famous people including Princess Diana. The museum also has workshops that restore lawnmowers for the collection and for others around the world. All these exhibits and services are devoted to keeping this small part of British engineering heritage alive.
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VISION The museum serves as a tribute to the garden machinery industry over the last 200 years and is dedicated to the preservation of this part of British engineering heritage.
VA L U E S The museum values history, celebrates the mundane, and prides itself in offering a personal, engaging, and unique visitor experience.
VISION The mission of the museum is to educate individuals on the history of gardening and machinery, and to create a passion through our exhibits and visits.
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ABOUT THE MUSEUM
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TA R G E T A U D I E N C E 15
ABOUT THE MUSEUM
The target market for the museum is people interested in gardening machinery and British engineering history. The demographic is males and females, from middle to older age. These individuals are also interested in other vintage items and may even be collectors themselves. People enjoy the museum for the extent and variety of its collection, and for the passion our employees have for vintage lawnmowers.
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SERVICES 17
ABOUT THE MUSEUM
The museum offers guided tours through our two main exhibits: “Lawnmower Racing” and “Lawnmowers of the Rich and Famous”. Additionally, we offer vintage mower rentals for use in film and TV and machine restoration at the museum.
P R O D U CT S
A variety of items can be purchased at the museum gift shop and through the website. We sell shirts, hats, mugs, and totes. Other products include grass seed packets, a lawn care guide, and a candle collection with scents reminiscent of ordinary moments.
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MARKETING
The museum conducts most of its marketing through word of mouth, print advertisements around Southport, and online through social media. The website will remain updated and social media will be used consistently to bring in more engagement to a wider audience that can not be reached through print. Additionally, the museum will market by connecting to organizations and groups of people who enjoy engineering and gardening history.
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ABOUT THE MUSEUM
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IN O 21
OUR how the fundamentals of our identity affect our business approach.
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THE BRAND The invention of the lawnmower allowed for leisure to become accessible for everyday people, making lawns a space for community and culture. At the heart of our brand is our passion for the power of the lawnmower, especially in regards to its significance to both English engineering heritage and world culture. This invention— no matter how mundane it may seem—holds significant importance and deserves to be celebrated.
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WE ARE
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RELIABLE Whether it’s a guided tour or machine restoration, we are highly educated and can be trusted for a satisfactory customer experience.
I M A G I N AT I V E We firmly believe that there are no ordinary things and we encourage visitors to explore this sentiment as well.
SINCERE We have an authentic belief in the importance of both our collection and museum.
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S T R AT E G Y
The brand of the museum is personable and friendly, while being a professional and knowledgeable resource for our visitors. We have a modern appeal, but also have roots that are well-established in history. Customers are engaged due to the museum’s genuine passion and care for the subject.
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THE BRAND
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ESSENCE
The celebration of the ordinary parts of life has always been the heart behind all things the British Lawnmower Museum does. Our collection of vintage lawnmowers allows people to reminisce on sweet Saturday mornings watching their grandpa mowing the lawn and other small memories that made up their childhood. The museum is more than just a collection of vintage machinery, it’s a collection of moments and memories that have shaped the lives of countless individuals.
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THE BRAND
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POSITIONING We are a fun, friendly, and informative brand that is more thoughtful than our competitors. We balance friendliness with reliability that makes the experience worthwhile. As the world’s largest collection of vintage lawnmowers, we are committed to educating all visitors with sincerity, professionalism, passion, and imagination.
D I F F E R E N T I AT I O N We stand out from our competition because of our vast collection, easy to reach location, knowledgeable and passionate staff and resources. We have built a reputation as a fixture in the community—both in Southport and in the novelty museum community.
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THE BRAND
C O M P E T I T I V E A D VA N TA G E As the largest collection of vintage lawnmowers and garden machinery in the entire world, we are equipped with the resources to educate the public that other similar organizations lack. Our founder—Brian Radam—is also an incredible resource to the brand, possessing vast experience and knowledge of the world of lawnmowers and vintage machinery.
VA L U E P R O P O S I T I O N We offer visitors a chance to be immersed in a unique side of engineering history and learn about an object that affects their daily lives. They will leave with a wellrounded knowledge of both the importance and history of lawnmowers.
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V O I C E + TO N E The museum maintains a high level of professionalism while maintaining a personable, welcoming, and friendly voice and tone. The passion of the company and of its employees should encourage visitors to want to learn more about the history and significance of lawnmowers.
K E Y M ES S AG I N G The main message the museum exists to communicate is the importance and significance of lawnmowers— both to British engineering history and to world culture. The museum encourages individuals to celebrate the importance of the mundane parts of life.
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THE BRAND
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B R A N D A R C H I T E CT U R E 37
THE BRAND
The British Lawnmower Museum is owned by the parent company Stanley’s Security Ltd. Stanley’s Security has been supplying hardware, garden tools and machinery, fuel items, and locksmithing services to Southport for over 80 years. Stanley’s owns two other sister sites in addition to the British Lawnmower Museum: lockandkeyworld.co.uk carkeyworld.co.uk
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VISU 39
UA L the personality of the museum translated into a visual identity.
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LO G O SYS T E M The follow section lays out the logo system for the British Lawnmower Museum. The system consists of a primary and secondary logo, as well as a logo mark. Also detailed is the required clear space for the logo and examples of both proper and improper use.
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LO G O
LO G OT Y P E + LO G O M A R K
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MARK
The logo mark is an abstracted shape meant to mimic the lines lawnmowers when cutting grass. The concept of the mark is also rooted in the Japanese philosophy of wabi-sabi, which sees the wisdom in natural simplicity. The mark’s organic nature reflects this idea, tying into the museum’s mission to celebrate the mundane. Within the mark, is the abbreviation of the museum (BLM). This mark is the most commonly used element in the system. It’s purpose is as a simple and easy identifier for the museum. It can be used as the social media icon, as well as in signage, marketing, and products.
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LO G O SYST E M
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PRIMARY
The primary logo for the British lawnmower Museum integrates the logo type with the logo mark. The letter R has been modified to mimic the curves of the mark and give the logo type more friendliness. The primary logo intended to mostly be used at larger scale. This can be in large marketing materials, signage and specific collateral materials.
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LO G O SYST E M
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S ECO N DA RY 49
LO G O SYST E M
The secondary logo is a simplified version of the primary logo, with the logo mark still integrated with the text. For more information on type, reference Visual Assets. This logo can be used to promote the brand in a more subtle manner. It is not intended for small scale use.
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CLEAR S PA C E 51
LO G O SYST E M
The required clear space for the primary logo should be at least the size of the logo mark. Overall, the logo should never feel crowed.
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MINIMUM SIZE 53
LO G O SYST E M
The minimum logo size requirements are the following: The primary logo may be no smaller than 96x33 pixels or 1x0.35 inches. For the secondary logo, the minimum size is 35x30 pixels or 0.37x0.37 inches. Lastly, the logo mark may be no smaller than 35x30 pixels or 0.37x0.37 inches. In all uses, the logo must be clearly legible.
3 5 x 3 0 px 0. 37 x 0. 3 i n
2 8 8 x 1 2 px 3 x 0.1 2 5 i n
9 6 x 3 3 px 1 x 0. 3 5 i n
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IMPROPER USE 55
LO G O SYST E M
Improper uses of the primary logo are displayed on the right. The logo cannot be distorted in any way, whether it is being stretched horizontally or vertically. It cannot be placed on an image or a color in a manner that makes it illegible. The logo cannot be outlined and cannot be used in a color that is outside of the British Lawnmower Museum brand standards.
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PROPER USE
In addition to the proper applications stated in previous pages, there are several proper uses for the primary logo. When placed over imagery, the logo should always stay white and should have enough contrast that it is legible. The only colors that should layered on top of each other are the standard green and sage (which can be found in the visual assets section).
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LO G O SYST E M
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V I S U A L A S S E TS Following is a collection of visual assets meant to be utilized alongside the logo system. Typography, colors, image direction, and the pattern system will be covered.
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TYPOGRAPHY
The main typeface to be used in headers and in the logo type is Athletics Bold. The modified R character should always be used in the logo type and in large-scale text. For the Light weight of Athletics—specifically used for subheadings—the modified R character does not need to be used. Mireille is to be used as a secondary typeface, mostly for body copy. Regular weight is preferred, but Medium is allowed if needed for legibility purposes. While these are the standards, Athletics and Mireille can be utilized in tandem to create more expressive type (page 63).
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VISUAL ASSETS
H E A D E R S + LO G O T Y P E :
AT H L E T I C S B O L D , M O D I F I E D
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z SUBHEADERS:
AT H L E T I C S L I G H T
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 62
BO DY C O PY:
MIREILLE REGULAR
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
BO DY C O PY:
MIREILLE MEDIUM
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
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T Y P E FA C E S I N U S E
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GREEN
OLIVE
C59 M46 Y77 K31
C43 M36 Y98 K11
R92 G95 B65
R145 G135 B53
PA N TO N E 2 3 0 7 U
PA N TO N E 6 1 2 U
SAGE
TEAL
C28 M18 Y42 K0
C69 M38 Y54 K14
R 1 8 8 G 1 9 0 B 1 57
R84 G120 B112
PA N TO N E 5 8 0 7 U
PA N TO N E 7 7 2 3 U 66
I M AG E RY
The imagery direction for the museum is overall light, warm, and airy with grounding elements throughout. Motifs such as natural fabric, grass textures, lawns and pastures, and lawnmower parts should remain the focus. Images should be engaging to the viewer and should feel familiar and welcoming with not being cliche.
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VISUAL ASSETS
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PAT T E R N
A pattern can be created by taking apart the main logo mark and connecting pieces by extending straight lines to create movement. The pieces can be arranged in a manner that best suits the context into which they are being placed, but on the right is a general example of the variety and rotation of shapes as well as the spacing that should always be used between elements.
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VISUAL ASSETS
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WEB The following section explains the type requirements for use on the web; specifically, typographic hierarchy and structure are defined.
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TYPE
There are three type styles to be used on the website: h1 for major headings, h2 for subheadings, and h3 for body copy. Both h1 and h2 are the typeface Athletics and h3 is the typeface Mireille.
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WEB
48 px
HEADING 1
24 px
H E A DI NG 2
1 8 px
Body Copy
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IN USE The following sections details the visual identity system in context. This includes examples of use in collateral, products, digital contexts, both print and digital marketing materials, and environmental uses.
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C O L L AT E R A L
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IN USE
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P R O D U CTS
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IN USE
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D I G I TA L
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IN USE
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MARKETING M AT E R I A L S
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IN USE
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10 2
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E N V I R O N M E N TA L
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IN USE
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Celebrating the mundane
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n e mu
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celeb e ra n a d n u m he
the mu g nd tin
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C O LO P H O N C O N TA CT Designed by Brianna Elwell briannaeelwell@gmail.com
T Y P E FA C E S Athlectics, designed by Tom Schwaiger Mirielle, designed by Anita Jurgeleit
Printed by Clemson Printing Services, 2022
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