This brand identity guide is designed to maintain a cohesive look for the MusÊe de la CinÊmathèque. By following these brand guidelines, the designer can ensure the identity stays the way it was intended, no matter the context.
Inside
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SECTION 03: BRAND ELEMENTS Brand Colors PAGE 26 -27
Typography SECTION 01: BRAND
PAGE 28-29
Client Brief & Personas
Deconstructing the Icon
PAGE 8-9
PAGE 30 -31
Identity Concept
SECTION 04: BRAND APPLICATIONS
PAGE 10 -11
Imagery & Photography
SECTION 02: LOGO
PAGE 32-35
Primary Logo
Indoor Wayf inding
PAGE 14 -15
PAGE 38-39
Pattern Usage
Advertisements
PAGE 16 -17
PAGE 40 - 41
Secondary Logos
Print Design
PAGE 18-19
Color Usage PAGE 20 -21
Incorrect Logo Usage PAGE 22-23
PAGE 42- 45
Apparel Design PAG E 4 6 - 47
Digital Design PAGE 4 8- 49
SECTION 01 TABLE OF CONTENTS
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01 SECTION 01: THE BRAND Client Brief & Personas PAGE 8-9
Identity Concept PAGE 10 -11
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SECTION 01 CLIENT BRIEF & PERSONAS
Client Brief
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The Musée de la Cinémathèque, formerly
camera equipment, movie scripts, movie sets,
known as Musée du Cinéma, was created
photographic
by Henri Langlois in 1972. The museum is
several movies f rom early collections of the
a celebration of cinema history located in
cinema. There are approximately 600 exhibits in
the Cinémathèque Française in the 12th
the museum, representing just a small sample
arrondissement of Paris. The Cinémathèque
of the collections of the Cinémathèque that are
Francaise is a French film organization that
continuing to grow today. Additionally, works
holds one of the largest archives of film-
are rotated out regularly in order to keep the
related objects and documents in the world.
interest of its visitors. Current exhibitions include
Inside, the museum presents the living
“The 1969 Edition of the Directors’ Fortnight,”
history of moving pictures and pre-cinema
“Kenji Mizoguchi,” “The Clouzot Mystery,” and
originating to the present day—celebrating
“Rainer Werner Fassbinder.” The museum
the world of cinema in all countries. The
also offers f requent internships and practical
museum has collections of more than
workshops to help grow the understanding of
5,000
how cinema is built. Some of these workshops
movie-related
objects
including
stills,
costumes,
and
shows
include making short animated or painted
lives in Paris, Jacques is originally f rom Caen,
films, trying sound or editing techniques,
France where he lived on a large area of land
framing and lighting a scene, projecting
with his large family. From a young age, his
still or moving images—all to help the visitor
mother inspired him to be creative and lead
uncover the mysteries of film creation.
a life of curiosity. Jacques enjoys museum
The Musée de la Cinémathèque acts as
hopping
a place of interest for all film lovers who
when it involves film. The Musée de la
either live in Paris or are just visiting the
Cinémathèque is among one of his favorites
city. Beyond this, the museum serves as a
in the area, because of its vast assortment of
mysterious, exploratory place for uncovering
film-related content and exploratory culture.
the secrets of film. The film industry is vast and this collection of artifacts and exploration
helps
film
lovers
to
dive
into discovery right in the heart of Paris. To
better
created
two
understand different
the
brand,
possible
I
clients
who would visit the museum frequently. JACQUES
RIVERA,
2 8 is a French
throughout
Paris—especially
K A Y L A R E E D , 5 0 is f rom Los Angeles who works as a costume designer in the film industry. She lives with her boyf riend, Greg, who also works in the production industry—they do not have kids. Kayla is originally from New York City where she worked as an assistant for a large fashion company. She has always loved movies, but
an
took a leap of faith and moved to LA in her
apartment in the 6th arrondissement of
thirties where she quickly found success
Paris—the home to many art galleries and
in costume and production design. This is
one of the most fashionable districts of Paris.
also where she found her love for travel—
Jacques is twenty-five and dropped out of
especially to Paris, France. Besides the
his higher education to pursue the world of
film industry, Kayla loves to journal and
French filmmaking. He is part of many French
read poetry. She is very fashionable and
cinema organizations in the area and is most
is always looking to be inspired. Kayla is
interested in sci-fi and romance. While he
also very active in the feminist movement.
independent
filmmaker
living
in
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SECTION 01 IDENTITY CONCEPT
Concept The identity for the Musée de la Cinémathèque is based on a single, modern square icon that was derived f rom the shape and style of a f ilm clapperboard. The typeface was chosen to mimic the classical femininity of Paris and the two together create a unique mark that is reflective of the museum’s unique culture and sophistication. Whether the box icon is on its own or not, the mark is recognizable to the museum and works as a permanent symbol for Parisian f ilm interests everywhere. The color palette was chosen carefully to mimic this same style and emotion and the use of black and white photography helps the brand remain consistent no matter where it exists in the city or beyond.
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Musée de la Cinémathèque
The museum’s icon design is inspired by an old-style film clapperboard. The icon has been modernized and made almost unrecognizable to the original in order to inspire a contemporary feel that brings more ambiguity to the mark. Rather than the mark be connected directly to the board, it is connected to the museum as its own unique identity.
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SECTION 02 TABLE OF CONTENTS
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02 SECTION 02: LOGO Primary Logo PAGE 14 -15
Pattern Usage PAGE 16 -17
Secondary Logos PAGE 18-19
Color Usage PAGE 20 -21
Incorrect Logo Usage PAGE 22-23
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SECTION 02 PRIMARY LOGO
Logo PRIMARY LOGO
The primary logo for the Musée de la Cinémathèque is shown to the right. As described earlier, it is roughly based on a clapperboard used on f ilm sets. The words are settled into the spaces in varying sizes while the box to the right of “de la” is left open. This most often stays unf illed, but can be f illed with patterns or images following strict guidelines that are detailed later in the identity guide. The expected minimum padding is shown to the right as well as the minimum logo size of one inch.
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Musée de la Cinémathèque expected minimum padding for logo
Musée de la minimum logo size: 1”
Cinémathèque
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SECTION 02 PATTERN USAGE
Logo PAT TERN USE IN LOGO
The primary logo may utilize the empty space in the box to the right of the text “de la� in order to increase flexibility and interest. However, there are a few rules for this pattern usage. First, the pattern must be symmetrical. They make take on different personalities and shapes, but they should remain balanced. Additionally, the line weight must mimic the line weight of the box icon logo. These patterns are mostly used in GIFs, animations, and in instances where the logo needs more personality.
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Musée
Musée
de la
de la
Cinémathèque
Cinémathèque
Musée
Musée
de la
de la
Cinémathèque
Cinémathèque
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SECTION 02 SECONDARY LOGOS
Logo SECONDARY LOGOS
In addition to the primary logo, there are also three secondary logos that can work for different contexts. Firstly, the box icon can be shown by itself. This works for the brand in hopes that the icon functions as a brand-recognizable element no matter where it’s placed. Additionally, the name can stand alone. This is usually used on the bottom of a sign or when the box has already been shown somewhere else close by. Lastly, the box and name can work together with the text sitting outside of the box. This may be used for artistic purposes or when the box and words are separated with substantial space in between the two. However, the end of the “M” and end of the “a” in “la” will always line up with the outside edges of the box. This is the case, unless for artistic purposes, the box is much bigger than the words or the box is much smaller than the words—for example, in the subway advertisements.
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a. ICON ALONE The primary logo can live on its own without its words. The box was created to be brand recognizable on its own, with or without words, and serves as an icon for the entire museum.
b. NAME ALONE
Musée de la Cinémathèque
Likewise to the box on its own, the text can act as its own logo as well. The text must be centered with the word “Cinémathèque” resting on the second line.
c . ICON AND NAME TOGETHER While the text is usually placed inside the logo, the text can also be paired separately with the box icon. The end of the “M” and the “a” in “la” should match up with the outer edges of the square.
Musée de la Cinémathèque
The elements can be further away f rom each other, but this rule must be followed.
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SECTION 02 COLOR USAGE
Logo COLOR USAGE
The primary logo may be placed on different colored backgrounds depending on the context. However, there are guidelines that should be followed in regards to which colors should be used when. First, the cream logo should only be shown on top of the cherry red background. Additionally, the cherry red will only be shown on a cream background. Lastly, the white logo will only be utilized on the vintage black color or in some imagery that demands a white logo for readability purposes. Following these color guidelines will ensure the best quality visuals and consistency for the brand.
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a. CREAM ON CHERRY RED Most widely used throughout the museum’s branding, the cream logo can be placed on top of the cherry red.
b. CHERRY RED ON CREAM
Musée de la Cinémathèque
The logo itself can also be cherry red and placed on the cream background. This is used less in the museum’s branding, but the cream color opacity can be minimized greatly here.
c . WHITE ON VINTAGE BLACK Rarely will the logo appear in black and white. However, when the logo needs to appear on a dark background, it will be 100% white on the brand’s vintage black color.
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SECTION 02 INCORRECT LOGO USAGE
Logo INCORRECT USAGE
With a flexible logo comes the risk of manipulating it too much or in the incorrect way. To the right are examples of ways the primary logo should not be used. For example, the logo should never be stretched horizontally or vertically. There should also never be patterns of differing line weights within the empty box space. Different colors should never be mixed with the red icon and the cream logo should never be placed on a white background. Additionally, the logo should never be tilted or turned on its side and will never be outlined. Lastly, the logo, no matter the color, should never be shown on a color logo as the photography of the brand remains black and white in every context.
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Musée de la
Musée de la
Cinémathèque
Cinémathèque
do not stretch logo horizontally
do not stretch logo vertically
Musée
Musée
de la
de la
Cinémathèque do not mix colors of type with icon
Cinémathèque do not put cream logo on white background
Musée
Cinémathèque
do not turn logo on side
Musée de la Cinémathèque
do not put patterns of differing line weights in box
ée
Mus
ue
thèq
éma
Cin
do not turn logo or orient in any way but straight
Musée de la Cinémathèque
do not use outlined logo
do not put logo on color photography, only B&W
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SECTION 03 TABLE OF CONTENTS
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SECTION 03: BRAND ELEMENTS Brand Colors PAGE 26 -27
Typography PAGE 28-29
Deconstructing the Icon PAGE 30 -31
Imagery & Photography PAGE 32-35
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SECTION 03 BRAND COLORS
Colors PRIMARY COLORS & USAGE
The colors for the Musée de la Cinémathèque were inspired by old-style f ilm glamour—more specif ically, French f ilm. While the photography is based in black and white, the colors of red, cream, and dark grey help to further create feelings of maturity, style, and fame. However, all of the colors are more unique than the expected red, white, and back. The red has an orange tint to it while the “white” is actually more of a cream with beige undertones. There is no black used in the brand, rather it is dark grey referred to as “vintage black.” The three colors are used for different contexts, but work together very well regardless of where they are portrayed. White is used in some instances that are detailed later in the guide.
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R: 239 G: 61 B: 43
R: 249 G: 241 B: 229
R: 48 G: 48 B: 48
C: 0% M: 91% Y: 93% K: 0%
C: 2% M: 4% Y: 9% K: 0%
C: 70% M: 64% Y: 63% K: 61%
#ef3d2b
#f9f1e5
#303030
CHERRY RED
CREAM WHITE
VINTAGE BLACK
This cherry red acts as the
This cream white acts
This dark grey color
most brand-recognizable
as a secondary color
is used primarily as a
color. Chosen for its bold
to the cherry red. It
substitute for black.
personality and punch, it
is primarily used as
Because black is so harsh,
also works very well with
the logo when placed
this dark grey helps body
old-style black and white
on a red background.
text and other small
f ilm photography, which
However, it can also be
elements to be more
is another important
used as headline text and
muted. Often times its
element for the museum’s
body text on a darker
70% is used in typography
brand. The red has an
background. The cream
to mute things further.
orange tint which allows
color helps to bring out
This grey tone will never
it to work well with its
the vinitage roots of the
be used for the logo.
cream white counterpart.
brand’s photography.
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SECTION 03 TYPOGRAPHY
Typography PRIMARY & SECONDARY TYPEFACES
To best keep consistency throughout the brand, there are two main typefaces that are used in different contexts. First, Gastrommond acts as the brand’s primary typeface appearing on advertisements, headers, and brand-recognizable elements such as tickets, gift bags, and apparel. In addition, Montserrat Bold, Semi-Bold, and Regular is used for description text and sub-headers. This can be seen throughout this brand identity guide as well as on the museum tickets where it provides less important information.
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Gastrommond Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz 1 2 3 45 67 8 9 1 0
Montserrat Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz TYPEFACE USES
Gastrommond Regular is used in headlines, large type, museum branding, and advertising. Montserrat Bold, SemiBold, & Regular are both used in bodies of text or secondary text, as seen in this guide.
12 3 45 678910
Montserrat SemiBold ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz 1 2345678 91 0
Montserrat Regular ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz 1 234567891 0
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SECTION 03 DECONSTRUCTING THE ICON
Icon Elements DECONSTRUCTING THE ICON
When f irst creating the logo icon, it was understood that if longer words or patterns were to be inserted into the spaces, the box elements would need to shift. Because of this, the decision was made to deconstruct the icon and create guidelines for how the box elements could be further used. The elements must retain the same width, but can be elongated or turned on their sides. Applications of these elements can be seen in things like wayf inding, advertisements, printed museum tickets, and gift shop bags, to name a few. This deconstruction allows for more flexibility while keeping the brand consistent and recognizable no matter the context.
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The deconstruction of the icon allows new elements to emerge. These elements can be used in many flexible brand applications such as wayf inding, print, digital, etc. Below are icon element rules to maintain consistency throughout the brand.
ICON ELEMENT DO’S
ICON ELEMENT DONT’S
Keep the same width
Change width
Elongate boxes for needs
Warp boxes
Turn boxes on sides
Only use the four box elements
Only use the four box elements
Make new boxes
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SECTION 03 IMAGERY & PHOTOGRAPHY
Imagery PHOTOGRAPHY AND EDITING STYLE
The Musée de la Cinémathèque celebrates all walks of f ilm artistry. However, with so many different imagery styles to keep track of, the decision was made to keep the brand identity as consistent by using only a specif ic type of black and white f ilm edit—regardless if the f ilm was originally produced in black and white or not. This decision was made based on what looked best with the brand’s colors as well as considering what type of imagery best encompassed the feelings of maturity in the f ilm industry. The black and white seemed to be the most suitable option.
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BLACK & WHITE
USAGE
All photography should be black
Photography is a large component
and white regardless of the f ilm or
of the brand’s identity and is used in
context.
a number of instances in branding
All images edited with preset C - Kodak BW400CN Contrast/Fade Increased contrast Highlights down 100% Grain at 50 with a size of 40
and on the digital presence as well. Images can be cropped in any way that maintains the context of image as long as the photography is edited in the same fashion.
Increased blacks
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SECTION 03 IMAGERY & PHOTOGRAPHY WITH LOGO
Imagery WITH LOGO
Imagery is very central to the brand’s identity, so there are a few rules in order to maintain consistency throughout the brand. The brand may only use a specif ic f ilter of black and white photography, so the logo on top of the image can be very specif ic. The primary logo can be either cherry red or white on top of a photo, but never cream due to visibility issues. If the image is dark, the white logo is used. If it is light, the red logo is used. In addition, the small icon can be used in the very top right or very bottom right for identif ication purposes or printed museum materials. It can be red or white, but follows the same rules as the primary logo in terms of darker and lighter image backgrounds.
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PRIMARY LOGO The primary logo is utilized on top of black and white photography, usually placed in the center of the image. The box may either be white or cherry red, but never cream. There is no set size for this setting, but tends to follow a 1:4 ratio to the photo.
SMALL ICON Photos may utilize the a small version of the logo without text in order to identify it to the brand. This is used in museum identif ication and printed materials.
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SECTION 04 TABLE OF CONTENTS
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SECTION 04: BRAND APPLICATIONS Indoor Wayf inding PAGE 38-39
Advertisements PAGE 40 - 41
Print Design PAGE 42- 45
Apparel Design PAG E 4 6 - 47
Digital Design PAGE 4 8- 49
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SECTION 04 INDOOR WAYFINDING
Wayfinding INDOOR WAYFINDING
Throughout the museum, there are hanging signs that act as wayf inding for visitors. Because the museum is rather small, there doesn’t need to be much wayf inding. However, the hanging banners act as guides for popular areas. For example, on the left is an example of an exhibition sign to show visitors it is straight below. Because they can be seen f rom afar, there doesn’t need to be many signs. On the right is an example of a sign for a destination such as the Café. Both of these designs utilize the rules for the box icon deconstruction to house the words and arrows.
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PERMANENT WAYFINDING Permanent wayfinding throughout the museum utilizes the box logo icon and deconstructed elements to add room for typography and symbols, like the arrow. Here, the logo text lives by itself.
EXHIBITION WAYFINDING Wayfinding signs can exist in the museum to help visitors find specific exhibitions. Here, an image from the exhibition is depicted inside of the box icon with an arrow filling one of those elements, pointing visitors in the right direction.
SECTION 04 ADVERTISEMENTS
Advertisements OUTDOOR ADVERTISING
Many different advertisements will exist as part of the museum depending on the context. Here, two subway ads are displayed in their true environment. To the left is an example of a more general museum advertisement. It is kept very simple to create a statement of brand recognition. To the right is an advertisement for a specif ic exhibition. Here, you can see the box icon has been manipulated to encompass an image of Marilyn Monroe. Although the image may change for each exhibition, the same idea remains.
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EXHIBITION SUBWAY AD Advertisements for specific exhibitions will often look like this--focusing on a single black and white photo from the exhibition films that is warped into the recognizable box icon. Here, the red icon logo is mixed with a cream text logo. This is allowed in instances where the red would be unreadable.
PERMANENT SUBWAY AD Normal advertisements for the museum tend to be as simple as pairing the logo icon with the text logo. This forces the brand to remain brand recognizable without any imagery or added information, while drawing on the simplicity of the brand’s aesthetic.
SECTION 04 MUSEUM BAG DESIGN
Print Design MUSEUM BAGS
To the right are examples of bags that are utilized in the museum gift shop. They showcase the two main colors of the museum, cherry red and cream, and can be used interchangeably. There is no strict guideline to when to use each color, but rather they simply give more flexibility and keep the brand interesting. Both of the bags have the words “Merci Beaucoup� on one side, positioned within the deconstructed box icon shapes, and on the other side there is a black and white zoomed image f rom one of the current exhibitions. When images appear on bags, they will be cropped artistically.
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SECTION 04 TICKET DESIGN
Print Design MUSEUM TICKET DESIGNS
The flexibility of the brand lends itself to multiple different ticket designs, as shown on the right. Both designs were created by deconstructing the box icon in order to f it the information needed for the ticket. The top ticket illustrates an example of a ticket for an exhibition with a pattern f illing in the box. This same design can be used for a more general event or activity where a ticket is necessary. The bottom logo includes an image f rom the exhibition in the open box and is used strictly for exhibition tickets. Both logos have the logo on the bottom of the ticket followed by a barcode.
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SECTION 04 APPAREL DESIGN
Apparel Design STAFF & GIFT SHOP SHIRTS
The museum’s apparel design was created to be extremely simple. While the majority of the brand’s identity is relatively simple, there are complications that allow it to show its flexibility. However, the apparel was designed to display the original identity of the brand with no f rills. This allows the staff t-shirts to be recognizable and uncomplicated and the general gift shop t-shirt to be collectable and easily changed.
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STAFF T-SHIRT The staff t-shirts are designed to be relatively simple as they aim to blend in casually with the museum in a relaxed and modern fashion. However, to remain recognizable the staff shirts are the brand’s cherry red making them easy to identify in the museum.
GENERAL T-SHIRT The general t-shirt design is one that can exist in the gift shop or for purchase online. Because of the contemporary logo, the icon makes a great vintage-looking t-shirt that makes sense with the brand’s aesthetic and makes a great souvenir for visitors.
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SECTION 04 DIGITAL APP
Digital App APPLICATION DESIGN
The museum’s digital presence was designed within an application to reach its younger, more tech-savvy target market. It is very simple, with only four sections. The “Visit” section allows users to f ind the location of the museum as well as an interactive map of the floor plan. Additionally, the “Happening Today” shows events and exhibitions that are happening the day the user opens the application while the “Upcoming Events” section shows events and activities that are offered in future weeks. Lastly, “Exhibitions” details past, present, and future exhibitions within the museum as well as more information regarding their importance.
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LOADING SCREEN
HOME SCREEN
The loading screen pictures the cherry red
The home screen utilizes the different
background with the cream logo in the center.
applications of the box icons to create a visual
In theory, this logo would flash a GIF of the many
menu that is simple yet understandable. Here,
different pattern applications while users wait for
“Upcoming Events� is selected and the events
the home screen to load.
are below, allowing the user to scroll between different weeks.
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Brand Identity Guide designed by Kendall Erickson at M I A M I U N I V E R S I T Y , A P R I L - M A Y 2 0 1 8