VISUAL IDENTITY MANUAL
Introduction 1 Why Change? New Identity
Logo 4 5 6 8 9 10 13
Main Logo Logo & Wordmark Clear Space Requirements Print Size Requirements Web Size Requirements Application Inappropriate Treatments
Typography 18 Primary Typography 19 Secondary Typography 21 Web Typography
Colour 24 Primary Colours 25 Secondary Colours 26 Application 27 Inappropriate Treatments
Stationery 30 32 34 36 38 40
Business Card Letterhead Letterhead Second Page Standard Envelope Oversized Envelope Mailing Label
Communications 44 Complements Card 46 Hotel Tent Card 48 Email Signature 49 Events Calendar 50 Tickets 52 Menu 54 Name Tags 55 Uniforms 56 Bar & Restaurant 57 Merchandise 58 Banners & Flags
Recommendations 62 64 65 66
Grid System Imagery Paper Suggestions Glossary of Terms
Current Identity
New Identity
Why Change?
New Identity
The Rex’s new identity is selling the same service that it has been successful with for decades, but in a different way, and to attract a new client base. The purpose of this redesign is not to change the entire business structure, but instead to put a new mask on top of it, exposing it to a number of new customers. This identity promotes the concept of the establishment more visually, and therefore exposes its strengths and successes to those who are unfamiliar with them.
In order to reach this new group of customers, it is important for the corporate identity to express movement, playfulness and excitement. Through the use of a vibrant colour and the juxtaposition of different forms, the identity is able to inform the potential customers of what the Rex offers, and intrigue and excite them visually. The extensive history of the Rex is also retained through the use of colour and visual elements inspired from jazz music and the historic building itself.
As generations pass, the Rex must be able to evolve with them and there is no better customer reaction, in the case of the company’s identity, then that of curiosity. A successful new identity for The Rex spawns curiosity among a new group of customers that can discover the rich history and performance talent that awaits them. A new identity also develops brand awareness when consistency within the identity is present. Consistency across all mediums allows the Rex to develop an entire culture around itself that will always relate back to its core values of fantastic jazz and blues music along with friendly staff, affordable food and reliable rooming services.
With this identity visually representing the Rex’s services, it allows the company to communicate its strengths and personality to the customer before they even step inside. Through the use of a playful and energetic approach, a younger demographic should be more inclined to try it out. This helps to ensure a longer life for the company and attempts to maintain interest from newer generations while still preserving interest from current repeat customers. This also works towards the Rex’s goal of constantly experiencing an eclectic group of individuals where everyone is more than welcome to come. It is clear the Rex has a certain following within Toronto, and this company has earned great trust between themselves and both the customers, as well as many jazz and blues musicians. With an incredible amount of live shows, this company really does stand out as one of, if not the, top jazz and blues bar in the city. This identity should gain the interest of those unfamiliar with the Rex and serve as a consistent visual representation of the company and all of its values.
Introduction
1
2
Introduction
Logo Main Logo Logo & Wordmark Clear Space Requirements Print Size Requirements Web Size Requirements Application Inappropriate Treatments
Introduction
3
Main Logo The Rex logo is the primary element of the entire visual identity system. The Rex identity consists of two elements, the logo and the wordmark. In the preferred version, the logo appears without the wordmark below it. The logo has been designed as a bold, energetic mark to in order to represent the Rex Jazz Bar & Hotel in all forms of communication. References to a saxophone, along with the juxtaposition of smooth curves and sharp edges, give this logo a feeling of movement and improvisation that is so often experienced within jazz music. The logo should never be typeset, recreated, or altered in any way, since doing so could cause inconsistencies that dilute the impact of the logo and overall identity. It is important for the logo to appear on all official Rex communication documents.
4
Logo
Logo & Wordmark In the alternate version, the logo is combined with a wordmark primarily for use in signage. The proportion and arrangement of the logo and wordmark have been specifically determined and should not be altered in any way. The logo and wordmark is most often used for identity introduction and use in signage in order to communicate the companies core services to potential clients and customers. The wordmark has been specifically designed and letterspaced in order to work graphically with the logo. The workmark portion must never be used on its own. The correct proportions and placement of the logo and wordmark are illustrated to the left. The proper use of the logo and wordmark will be described in the following pages.
X
40% X
Logo
5
Clear Space Requirements
This clear space isolates the logo from all competing graphic elements such as other logos, photography, copy or background patterns that may divert attention. It is intended to ensure visibility and impact, and to prevent the logo and wordmark from being crowded or covered by other graphic elements or typography.
1 1/2 X
For all applications of the logo, in addition to the logo and wordmark combination, a minimum clear space area must be left equal to one and a half times the height of X. The X space is equal to the height of the letter ‘T’ in the logo.
1 1/2 X X
6
Logo
Clear Space Requirements The same clear space requirements are also applied when using the logo with the wordmark. This minimum space should always be maintained as the logo is proportionally enlarged or reduced in size.
1 1/2 X
In some cases, the clear space requirement may need to be modified. Any questions regarding this modification should be directed to the director of communications.
1 1/2 X X
Logo
7
Size Requirements (Print) In print usage, the Rex logo should never be reproduced smaller than the minimum size that is illustrated to the right. The limitations of various media should always be considered when placing the logo, as it must always be legible and clear. The Rex logo retains its visual strength in a wide range of sizes. However, if the logo is reproduced too small in print, it becomes illegible and its impact is therefore diminished. The minimum size of the logo for print is determined by the width of the Rex Logo. The main Rex logo should not be reproduced in a size smaller than 1” in width. In the case of the Rex logo and wordmark combination, the width should not be reproduced at a size smaller than 1.75”.
1”
1.75”
8
Logo
Size Requirements (Web) When using the logo and wordmark in web and other electronic uses, they should be placed at a size that retains legibility and recognizability. They must not be reproduced any smaller than the minimum pixel sizes illustrated to the left.
125px
These sizes also include the necessary clear space requirements. Refer to page 6 and 7 for more information.
144px
The use of the logo and the wordmark should be used for introductory pages on the web. Refer to page 5 for proper usage.
242px
252px
Logo
9
Application The most basic and ideal way to showcase the logo is on a white background. This allows for optimal contrast and clarity and should be the application used in most cases in order to keep the identity of the Rex consistent. Both the Rex logo, and the logo and wordmark combination, allow for one colour reproductions. Both the Pantone 3005C as well as Black are acceptable treatments.
Logo on white background
For more information regarding logo colour application refer to pages 26.
Logo & wordmark on white background
10
Logo
Application When the logo appears on the specified blue or black background, the logo and wordmark can be reversed out to white. This is to ensure that the logo is always legible and still completely recognizable. For more information regarding logo colour application refer to pages 26.
Logo on blue background
Logo & wordmark on black background
Logo
11
Application This page illustrates the correct usage of the logo and wordmark on image/graphic applications. It is important to have adequate contrast between the mark and the background for proper legibility and brand consistency. The use of photography allows for two separate application possibilities. A black logo can be used on top of an image as long as the white within the logo remains. A reversed white logo can also be used on top of photography, with the black area knocked out.
Black logo on blue photo background
For more information regarding logo colour application refer to pages 26.
White logo knocked out on blue photo background
12
Logo
Inappropriate Treatments A
B
It is crucial for the success of the visual identity that the logo is used and displayed properly. Illustrated to the left, are the unacceptable treatments of the logo. A - Do not distort B - Do not rotate C - Do not make 3D D - Do not add drop shadow or any special effect E - Do not alter the logo outline or crop F - Do not arch or bend
C
D
E
F
Logo
13
Inappropriate Treatments G - Do not cut off any areas unless permission is granted. (e.g. business card on page 30) H- Do not add any glow I - Do not bleed elements into one another J - Do not use logo without the background K - Do not alter the relative size of the elements L - Do not separate the R from the logo and use as a freestanding graphic or mark
14
Logo
G
H
I
J
K
L
Inappropriate Treatments M
N
O
P
M - Do not use marks made for the web in print material. Do not copy and paste from the web. N - Do not add a stroke to any component O - Do not alter the typeface for the wordmark P - Do not move the wordmark Q - Do not alter the relative size of the wordmark
Q
Logo
15
16
Introduction
Typography Primary Typography Secondary Typography Web Typography
Introduction
17
Primary Typography The Gothic font family has been chosen as the primary typeface for the Rex’s identity and communications. One of the key factors in a new identity is the use of a specified font family that is consistently used in all communications.
Gothic 720 BT ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
The many weights of Gothic allow for flexibility and emphasis in all types of communication pieces. The typeface also has slight character that works well with the Rex’s identity.
Gothic 720 BT Roman
Gothic 720 BT Light Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
The font family is used throughout all stationery, communications and identity pieces.
Gothic 720 BT Italic
B A
C
18
Typography
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){} Gothic 720 BT Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){} Gothic 720 BT Bold Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){} Gothic 720 BT Light
Gothic 821 Cn BT
Secondary Typography News Gothic BT ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
News Gothic BT Roman
News Gothic BT Light Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
News Gothic BT Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){} News Gothic BT Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){} News Gothic BT Bold Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
News Gothic Cn BT
When the Gothic font family is not available for use, News Gothic can be used as an acceptable alternative typeface. News Gothic was chosen for its similarities to the Gothic family and it is also readily available for download on the internet.
B
AC
News Gothic BT Light
Typography
19
Secondary Typography If the Gothic font family is not available, the preferred alternative typeface is Univers. It was chosen because of its similarity in form and overall structure.
B
C
A
Univers ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
Univers Roman
Univers Light Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
Univers Italic
Univers Black
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){} Univers Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){} Univers Bold Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){} Univers Light
20
Typography
.,;;’”!@#$%^&*(){}
Web Typography Helvetica
Arial
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
Helvetica Regular
Arial Regular
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
Helvetica Italic
Arial Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
Helvetica Bold
Arial Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 .,;;’”!@#$%^&*(){}
Helvetica Bold Italic
Arial Bold Italic
Helvetica and Arial are chosen for use in web and interactive applications. They were chosen for their similarity to Gothic and are available on almost all computers.
A
B C
Typography
21
22
Introduction
Colour Primary Colours Secondary Colours Application Inappropriate Treatments
Introduction
23
Primary Colours The use of colour is an important aspect in the Rex’s identity system. The primary colours for the identity are Pantone 3005C, Black and White. Equivalent formulas for 4-colour printing and digial media are provided to the right.
Pantone 3005C Process: c100 m35 y0 k0 RGB Web: r0 g129 b198 Web Hex: #0083CA
Black Process: c0 m0 y0 k100 RGB Web: r0 g0 b0 Web Hex: #000000
White Process: c0 m0 y0 k0 RGB Web: r255 g255 b255 Web Hex: #FFFFFF
24
Colour
Secondary Colours Pantone 290 EC Process: c23 m0 y1 k0 RGB Web: r191 g231 b247
A supplementary set of colors has been selected to complement the primary color palette. The colors shown in this supplementary palette are recommended for general use, but the user is not limited to only these colors.
Web Hex: #BFE7F7
Pantone 1505 EC Process: c23 m0 y1 k0 RGB Web: r191 g231 b247 Web Hex: #BFE7F7
Pantone 3935 EC Process: c2 m0 y60 k0 RGB Web: r254 g243 b133 Web Hex: #FEF385
Pantone Cool Grey 5 Process: c0 m0 y0 k30 RGB Web: r188 g190 b192 Web Hex: #BCBEC0
Colour
25
Application Illustrated to the right are the two acceptable treatments for the logo use on a secondary coloured background. For more information on the secondary colours refer to page 25. The black logo must appear on any use of the grey background and the blue logo must appear on the any use of the light blue background. For more information regarding other application possibilities refer to page 10. Black logo on cool grey background
Main logo on light blue background
26
Colour
Inappropriate Treatments A
B
It is crucial for the success of the visual identity that the logo is used and displayed properly. Illustrated to the left, are the unacceptable colour treatments of the logo. A - Do not use black text in the logo B - Do not use grey text in the logo C - Do not use blue logo on cool grey background D - Do not use secondary colours in the logo E - Do not use grey text on the black logo F - Do not change the wordmark colour without changing the logo colour to match
C
D
E
F
Colour
27
Introduction
28
Introduction
Stationery Business Card Letterhead Letterhead Second Page Standard Envelope Oversized Envelope Mailing Label
Introduction
Introduction
29
Business Card Size: 2.5� x 3� Stock: Mohawk Via Vellum 80c The Rex business cards are vertical in format and feature the logo on the front, reversed to white. The back has the employee name and contact information, at the bottom. There is also a detail of the logo along the top of the card on the back. The name of the individual appears in the main blue and is set in Gothic 821, with 20pt type. The contact information is set in 720 Regular, 10pt type with 16pt leading.
30
Stationary
Business Card To the left are the dimensions for the business card. All os the elements should remain in their respective positions and should not be altered. If more space is required for contact information, the entire text box should move up vertically to create more space. The location information should always be the last line of text.
3.5” 2.25”
2”
0.25”
Stationary
31
Letterhead Not actual size
Size: 8.5� x 11� Stock: Mohawk Via Vellum 24lb The Rex logo is situated in the top left hand corner without the wordmark. All of the contact information is aligned to the left side of the logo, and at the bottom of the page. It is set in 720 Regular, 10pt type with 12pt leading. The back of the letterhead is a solid coat of Pantone 3005c. Do not alter the colours, add, or change any elements. Do not remove any elements. Avoid use in black and white, but if necessary, do not change the colours and print as is.
32
Stationary
Letterhead
8.5”
The illustration to the left provides the placement and dimension specifications for all graphic elements and typography. Note the placement of the body text on the letterhead.
0.5” 1.5”
The body copy is set in 720 Regular, 10pt type with 12pt leading and set in black. The content must always stay within the guidelines. For documents that run longer than the space provided, please use the appropriate letterhead second page on page 34.
11” 8”
Not actual size
0.75”
Stationary
33
Letterhead Second Page Not actual size
Size: 8.5� x 11� Stock: Mohawk Via Vellum 24lb To the right is a sample of the letterhead second page. It must always be used after the letterhead in longer documents. It must never be used as the initial letterhead, or on its own. The body copy is set in 720 Regular, 10pt type with 12pt leading and set in black.
34
Stationary
Letterhead Second Page 0.5�
The dimensions to the left specify the placement of all the graphic elements on the letterhead second page. Please do not add or remove elements, or use blank sheets of paper instead. The on page content must always stay within the appropriate guidelines.
Not actual size
0.75� Stationary
35
Standard Envelope Size: No. 9 | 8 7/8� x 3 7/8� Stock: Mohawk Via Vellum 24lb This envelope is for general everyday use and features the logo and address on the front along with a Pantone 3005c blue flap and inside. The address block is also set in blue and uses the 720 Regular typeface, 10pt type with 12pt leading.
36
Stationary
Not actual size
8.875”
1.25”
0.5” 0.25”
1.5”
3.875”
0.25” 1.25”
2.75”
Not actual size
Stationary
37
Oversized Envelope Size: 15� x 12� Stock: Mohawk Via Vellum 24lb This envelope is for general everyday use and features the logo and address on the front along with a Pantone 3005c blue flap and inside. The address block is also set in blue and uses the 720 Regular typeface, 10pt type with 12pt leading.
38
Stationary
Not actual size
15”
1” 0.25”
12”
1”
1.5”
Not actual size
Stationary
39
Mailing Label Size: 4� x 2.5� The mailing label is for use on large packages or items being shipped that cannot fit within the envelopes provided. The address block is set in blue and uses the 720 Regular typeface, 9pt type with 11pt leading.
40
Stationary
Mailing Label The recipient name and address block is set in black and uses the 720 Regular typeface, 9pt type with 11pt leading. This address block cannot appear any higher than 1.4” from the top edge of the label.
4” 0.35” 0.15” 0.55”
2.5”
0.35” Recipient Address City, State/Territory, Postcode COUNTRY
0.5”
1”
0.5”
Stationary
41
Introduction
42
Introduction
Communications Complements Card Hotel Tent Card Email Signature Events Calendar Tickets Menu Name Tags Uniforms Bar & Restaurant Merchandise Banners & Flags
Introduction
Introduction
43
Complements Card Size: 6” x 8” Stock: Mohawk Via Vellum 60lb The compliments card is designed to fold in half creating a 6” x 4” front and back. The logo and wordmark combination is used and centered on the front of the card. The back is coated with solid blue. These cards can be used for thank you cards, invitiation cards, or any type of personal message from the Rex.
44
Communications
Not actual size
Not actual size
Fold Line
8”
6” Communications
45
Hotel Tent Card Size: 6” x 8” Stock: Mohawk Via Vellum 60lb The hotel tent card is designed to fold in half creating a 6” x 4” front and back. The main logo is used and centered on the front of the card, but reversed on a blue background. The back is left white with a blue ‘Thank You’ message set in Gothic 821 at 20pt. The address is also cenetered on the back and is set in 720 Regular at 9pt, and 11pt leading. This card can be used within the hotel rooms at the Rex as a take away for the customer. The tent card promotes consistency of the identity into the individual hotel rooms.
46
Communications
Not actual size
Not actual size
Fold Line
6� Communications
47
Email Signature The Rex employees are welcome to use this suggested format for their email signature. The Rex primary logo (without wordmark) comes first, followed by the individuals name, title, contact information, the Rex’s address and the Rex’s web URL. The individual’s name along with the website URL must always be set in blue and in 720 Bold at 10pt. The remaining information is set in black and uses 720 Regular at 10pt with 12pt leading. A double space is used between the contact information and the address, as well as between the address and the Rex’s web URL.
118px
182px
97px
29px
102px
Not actual size
48
Communications
Events Calendar Size: 11” x 8.5” Stock: Mohawk Via Vellum 24lb To the left is an example of an events calendar for the Rex. This calendar would be used monthly to promote all of the events happening over that particular month.
Not actual size
The month and year title is set in Gothic 821 at 20pt. The day text along the top is set in 720 Bold at 12pt. The day of the month is also set in 720 Bold at 12pt, but is coloured blue. Lastly, the information within the boxes is set in 720 Regular at 9pt, with 11pt leading.
8.5”
11”
Communications
49
Tickets Size: 2” x 5.5” Stock: Mohawk Via Vellum 60lb The event tickets are illustrated to the right. They are a vertical format on the front and a landscape format on the back, with a tear portion at one side. The event title sits under the logo and wordmark combination, which is set in white, with the type dropped out to reveal the background. The event title is set in Gothic 821, with the date set in 720 Bold and the time set in 720 Regular. Both of these elements are sized to be 1.4” in width and centered on the page. The web URL address and street address are set in 720 Bold at 9pt with 11pt leading.
Front
50
Communications
Back
Tickets The image in the background of the main area on the front of the ticket should always be vertical format, and similarly on the back, should always be landscape format. For more information on the image use guidelines, refer to page 64.
1.25”
The tear-off portion at the top, is a horizontal format on both the front and back, with the logo used as a watermark at an opacity of 10%. The ticket price on the tear off portion is set in 720 Regular at 12pt. The event information and admission code is also set in 720 Regular, but at 7pt with 9pt leading.
1.5”
5.5” 1.25”
0.75”
0.75”
0.3”
1.4”
0.3”
2”
Communications
51
Menu Size: 8.5� x 12� Stock: Mohawk Via Vellum 60lb (Laminated) This menu has been designed for the restaurant and bar portion of the Rex. All previous menu choices and elements remain, but this new layout is able to reiterate the consistency of the identity. The menu is one sheet printed double-sided on the front and back. The menu is also laminated in order to last longer and be easily cleaned. The top of the menu features the white primary logo with the type knocked out over an image. For more information regarding imagery please refer to page 64. The menu titles are set in Gothic 821 at 18pt and coloured blue. The remaining type is set in black 720 Regular and 720 Italic at 11pt with 13pt leading. The 720 Italic is used for explanations of items, and any notable mention. A double space should be used for each new menu item.
Back
Front
52
Communications
Not actual size
2.5”
1”
12”
0.5” 0.5” 0.25”
3.75”
Not actual size
8.5”
Communications
53
Name Tags Size: 2” x 2.5” A set of name tags have been designed for any staff who work directly with the public. The name tags are made from brushed metal and would be used in combination with the main uniforms featured on page 55. The name of the individual is set in Gothic 821 and can be altered to any size as long as it remains 18pt or larger. The name is centered within the shape and engraved into the metal, but cannot exceed 1.7” in width. Name tags are not mandatory for all staff.
0.4”
1.7”
0.4”
2”
54
Communications
Uniforms Illustrated on this page are examples of uniforms for front of line staff who work directly with the public. In the bar and restaurant area, bartenders, serving staff and front of house staff will wear the blue or black polo shirt with the primary logo appearing in white. The hotel staff will wear the white polo shirt featuring the primary logo that appears in blue. All shirts can be used in combination with the universal name tag on page 54. Uniforms are not mandatory for all staff.
Communications
55
Bar & Restaurant Collateral To the right are a few examples of some collateral material for the hotel, restaurant and bar area. The logo is applied sparingly to items such as glassware and coffee cups, and more dominantly to items such as coasters and match boxes. The logo can be etched into glass or metal for items such as glassware and cutlery, but can similarly be applied in black and white or colour to items such as plates and or napkins.
56
Communications
Merchandise To the left is a number of merchandise examples that the Rex could produce and sell to customers within the establishment. These items could be placed by the bar giving visitors the opportunity to remember the experience they had. Both the primary logo, and the logo/wordmark combination, can be used on any of these items. Photos should not be included on any of the merchandise, only the approved logo treatments should be used.
Communications
57
Banners & Flags Size: 12” x 30” To the right are examples of street pole flags for use along the streets downtown and around the Rex. The colours and imagery are used to project and represent the established identity. Be sure to follow all of the image and graphic guidelines, as proper application is important to the consistency. For more application information refer to page 10.
Not actual size
30”
12”
58
Communications
Banners & Flags Size: 60” x 15” To the left are examples of banners for use at the Rex and other locations. These large banners can be both utilized indoors and outdoors and serve as a large identity showcase where ever they happen to be located. The logo and wordmark combination along with the use of a tag line appears in Gothic 821 and gives the banners a bold and energetic feel. For more information regarding imagery guidelines, refer to page 64.
Not actual size
15”
60”
Communications
59
Recommendations Grid System Imagery Paper Suggestions Glossary of Terms
Grid System Grid systems will act as a guide for the placement of visual communication elements in many different applications. The use of a standardized grid system will help build consistency through all communication and identity pieces. Grids assist in the placement of any body text, sidebars, headlines, images and graphics. While they provide a basic guide for the layout, there is also flexibility for creativity within the design. The preferred grid for the Rex is a 3-column style. Not only does this give large flexibility within layouts, but it also mimics the three main shapes that make up the background of the primary logo. Although three column is preferred, other grids, such as the four column grid, are sometimes suitable substitutes. Grids may be scaled, in proportion, to fit the size of any given document.
62
Recommendations
3-Column Grid
Margin
Gutter
4-Column Grid
Recommendations
63
Imagery Imagery and photography are integral to the overall identity of the Rex. It is used to convey the eclectic customer base, overall energy and vibrant spirit of the Rex. Imagery is to be used throughout many print and digital applications, so it is crucial that all of the imagery is always used consistently. Photography at all times is used in either black and white, or black and white with an 80% Pantone 3005c overlay on top. All imagery must be 300dpi for printing and at least 72 dpi for web or interactive media. In some brief cases such as on the web, these imagery rules can be broken slightly if needed.
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Paper Suggestions For consistency across all print materials, some specific paper has been suggested. The Mohawk Via Vellum series has been chosen for its large versatility. These papers can be printed using digital, laser and inkjet printing, and also come in many different weights to suit every application.
Mohawk Via Vellum 60lb (Laminated)
Mohawk Via Vellum 24lb
Mohawk Via Vellum 24lb
Mohawk Via Vellum 60lb
For items such as letterheads and envelopes, Mohawk Via Vellum 24lb is appropriate since it remains flexible but strong. Items such as tickets or tent cards benefit from Mohawk’s Via Vellum 60lb stock allowing for more paper strength. In the case of the menu, this stock can also be laminated in order to last longer. Finally, the 80lb Mohawk Via Vellum is great for items such as business cards that want to remain strong and avoid too much bending.
Mohawk Via Vellum 60lb
Mohawk Via Vellum 80lb
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Glossary of Terms Alignment: the positioning of text within the page margins. Alignment can be flush-left, left-justified, flush-right, right-justified, justified or centered.
Mark: Generic term for graphic symbol. “Marks” is used to represent the logo and wordmark.
Body text: the paragraphs in a document that make up the bulk of the content.
Point Size: common method of measuring type. Written as, pt, as in 12pt. When referring to the point size and the leading it is written as 12/14pt, which is 12 point size type on 14 point leading.
Colour palette: specific colours that were chosen to coordinate, contrast and harmonize as a way to create consistency throughout the visual identity. Grid: structure made up of a series of rows and columns to structure content in a layout. Gutter: in a grid or page layout, it is the blank space between a column or a row. Kerning: the adjustment of the space between characters in a line of text. Leading: the amount of space between two lines. Letterspacing: adjusting the difference between letters in a block of text. Logo: generic term for a unique graphic symbol, display name or a combination of both, that represents a company or organization. Margin: the white space around text blocks. Typically created on the edge of a page because most printers can’t print right to the edge.
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Point: unit of measure. 72 points to an inch.
Reverse-out: printing white or light coloured type on a dark background for emphasis. Sans Serif: typeface that does not have serifs. Clean and simple appearance. Gothic 720 BT is an example of a sans serif. Tag line: slogan used to represent the company or organization and to support the identity. Tracking: space between characters in a block of text. Also known as letterspacing. Typeface: a set of numbers, letters, punctuation that were designed together. Often part of a type family. Individual typefaces are often called after the family and specified with a designation of italic, light, bold ,etc. Wordmark: text-only graphic identity mark. X-height: the height of the body of lowercase letters in a font.
Evan Smithers
Corporate Identity FA/YSDN 4007 Recommendations 67