Hôtel Graphic Standard Costes Manual 2021
Hôtel Costes
Graphic Standard Manual 2021
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Graphic Standard Manual 2021
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Graphic Standard Manual 2021
Letter From The President IN PARIS, 1985, I created my first café with a young prodigy; architect, decorator, designer, philosopher, the future world renowned Philippe Starck: Café Costes. 1995, a new love story with the brilliantly talented and flamboyant Jacques Garcia: Hotel Costes. 2020, a mature project, and a solid, serene friendship with the iconic and elegant architect Christian Liaigre: Costes is expanding, and continuously evolving. Hotel Costes, located a heartbeat away from the Place Vendôme in the center of Paris, is famous for its unique style. Sweet cozy elegance, delightful comfort, fast evanescent glamor. As you enter this luxury hotel, you truly find the 5-star experience, immersed in another dimension in which time loses all meaning. Walking through the sound gallery, having lunch on the patio, drinking tea by the fireplace, swimming in the pool, lazing in the spa, enjoying a lobster and chips in your room in the middle of the night, drinking cocktail at the bar while listening to the DJ; Magical atmosphere reigns both day and night. With the constant evolution of Costes; our progressive nature and forward thinking character, we will continue to embody change. We aim to be bold; find a new light, create difference but keep our hotel close to our roots. Dedicated to our love, our very own Paris.
Sincerely,
JEAN-LOUIS COSTES
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Table of Contents
1.0
Introduction
1.0 1.1 1.2 1.3
Who We Are Brand History Brand Mission Our New Brand
2.0
Brand System
2.0 2.1 2.2 2.3 2.4 2.5 2.6
Previous Brand Logo Preferred Brand Logo Clear Space Color Palette Color Usage Size variation Unauthorized uses
3.0
Typography & Brand Graphics
3.0 3.1 3.2 3.3 3.4
Typography: Primary & Secondary Typefaces Type Sizes & Hierarchy Brand Graphics Photography Guideline
4.0
Application Usage
4.0 4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.9 4.10 4.11 4.12 4.13 4.14 4.15 4.16 4.17 4.18 4.19 4.20 4.21 4.22 4.23
Stationery System Letterhead Envelope Business Card Window Signage Hotel Entrance Hotel Lobby Hotel Pool Do Not Disturb Door Sign Room Pillow Room Key Card Tea Cup & Tea Plate Toiletries Hotel Slippers Bath Towel Costes Car Tour Bus Paris Metro Station Signage City Signage Website Front Desk Uniform Tote Bag Costes Playlist Costes Cologne
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1.0 Introduction
1.0 1.1 1.2 1.3
Hôtel Costes
Who We Are Brand History Brand Values Our New Brand
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1.0 Who We Are
Founded by Jean-Louis Costes in 1984, Costes started as a futuristic cafe, designed by an underground designer named Philippe Starck. With its success, the Costes grew into an eclectic hotel with an equally eclectic crowd, with Jacques Garcia as the designer. Today, the Costes trusts the minimalistic and illustrious architect Christian Liaigre for a new section. An emblem of Parisian life; charming, elegant and full of music.
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1.1 Hotel History 1984 Hôtel Costes started as a cafe in 1984, created by the young Jean-Louis Costes from Aveyron. He collaborated with Philippe Starck, who was then an unknown underground designer, with a vision of creating a unique cafe that resembles a “gigantic, translucent and futuristic bubble.” Naturally, the cafe stood out amongst traditional Parisian bistros that were located around it in ‘les Halles’ district. The cafe embodied high postmodernism. The Costes became the new epicenter of Parisian chic.
1995 Thus, in 1995, when Jean-Louise Costes decided to open up Hôtel Costes, located really closely to the Palace Vendôme, he chose Jacques Garcia, a master of eclecticism (mixing elegance and baroque decors), to be in charge for the interior design of the five-star hotel. The result is characterized by “opulence and a theatrical appeal, with revolutionary styles and superimposed elements from different time periods.”
2021 Today, the hotel trusts the minimalist and illustrious Christian Liaigre to design the venue for a less grandiose, yet epic luxury hotel. After decades of existing, the hotel stands as a timeless venue with eclectic crowds, which is emblematic of Parisian life.
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1.2 Brand Mission The Costes is built on history. A history of the future; a history of progression. That is why we choose to continue to expand and grow. Find new meaning while keeping close to our roots. Our brand missions guide the new steps we choose to take in our journey of creating a greater Costes.
BE THE PLACE TO BE
EMBRACE EVOLUTION
Like our history, the Costes has always become the place to be. Located in the ‘les Halles’ district, a controversial neighborhood in the midst of a major transition in 1984, the Costes drew in hordes of visitors that made a stir.
When the Costes started, it started as a cafe with a fully unique design by Philippe Starck, who was then an unknown designer. The growth into a hotel with mixture of baroque and elegance, and then later ultra minimalist and illustrious are indication that we embraces evolution and growth.
EMBODY ECLECTICISM
PRIORITIZE COMFORT IN ELEGANCE
Representing our city of Paris, the Costes embodies eclecticism. From our interior that ranges in style to the visitors of our hotel, the Costes is an emblem of the Parisian life; made of uniqueness.
With all the crowd that the hotel draws in; all the music and excitement, the comfort of our guests are our number one priority. We guarantee our guests’ privacy and the experience they get at the Costes.
TIME LOSES ALL MEANING
KEEP CLOSE TO OUR MUSICAL IDENTITY
In the hotel, we offer an experience of being immersed in another dimension in which time loses all meaning. The ambience of the hotel allows for the Costes to be the place for daydreaming, relaxing and escaping a busy life.
The Costes is full of life and music. The music becomes an integral part of our identity and signature of the lounge music scene. Jean-Louis Costes himself asked Stephane Pompougnac to create a joyful, special blend of music.
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1.3 Our New Brand
The constant evolution of Costes is perceptible in the eclectic interiors, built through different times; from Jacques Garcia, to Christian Liaigre, to the new Mont Thabor section. All three taste coexist as one unity to represent our city of Paris. It is only natural that we establish a new presence as the hotel grows. Time loses all meaning at the Costes.
Hôtel Hôtel Costes Costes
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2.0 Brand System
2.1 2.2 2.3 2.4 2.5 2.6 2.7
Hôtel Costes
Previous Edition Preferred Edition Clear Space Size Variation Color Palette Color Usage Unauthorized uses
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2.1 Previous Edition Costes’ brand logo has stayed in the geometric sans serif typeface since it was built. There are different configurations in which the hotel uses their logo. For instance, the type has been allowed to run stacked vertically. This is used on the hotel’s front signage.
The need for a rejuvenation for the logo comes from a vision to translate the off-kilter charm of the Costes. We aim to create an emblem to reflect who we are.
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2.2 Preferred Edition The preferred brand logo makes use of the hotel’s iconic statue, ‘Le Secret’ that is combined with hand-lettered type. The emblem and wordmark are treated as one entity. Separation of the two is permitted only when producing die cuts.
Hôtel Costes
It is preferred to refrain from separating otherwise. The logo encapsulates the brand’s soul; progressive, but elegant and cozy, theatrical but candid, one but eclectic.
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2.3 Clear Space The chart below shows the minimum margins that must be mantained between the logo elements and other objects or edges. The margin is the same space between the relation of the edge of the C with the white space created from the emblem (also equivalent to the space between where the low terminal and top terminal ends).
Fig. 1. Clear Space 1
Figure 1 shows the horizontal clear space, while figure 2 shows the diagonal clear space. The diagonal clear space is applied when accompanying text is turned on an angle. Any accompanying text that is to be angled must follow the angle of the wordmark at 17 degrees.
Fig. 2. Clear Space 2
17°
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2.4 Size Variation The chart below shows the size variation allowed for the logo. The smallest size is 0.7 inches in width by 0.9 inches in height. Below this size, the wordmark loses legibility; therefore, refrain from setting the size smaller than the minimum.
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3.5 x 4.0 in
2.5 x 3.1in
1.5 x 1.8 in
0.7 x 0.9 in
Smallest Size: 0.7 x 0.9 in
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2.5 Color Palette These are the primary colors used in the application system. The three main colors are black, red, and white. The black and red can be used in different opacities, while the white allows for different temperature; cool and warm.
PRIMARY COLORS
PMS RGB CMYK HEX
70% Opacity
40% Opacity
PMS RGB CMYK HEX
70% Opacity
RGB CMYK HEX
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Black C 0/0/0 60 / 30 / 20 / 100 #000000
485 C 237 / 36 / 33 0 / 99 / 100 / 0 #ED2124
40% Opacity
255 / 255 / 255 0/0/0/0 #FFFFFF
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RGB CMYK HEX
255 / 255 / 255 0/0/0/0 #FFFFFF
RGB CMYK HEX
255 / 255 / 255 0/0/0/0 #FFFFFF
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2.6 Color Usage Below shows the logo with different color usages. The color used depends on the background of the application. On a lighter background, use black or red. On a darker background, use a reversed out.
Black on Paper
Red on Paper
Reversed out on Black
Black on Warm Paper
Red on Warm Paper
Reversed out on Red
Black on Textured Cloud Paper
Red on Textured Cloud Paper
Reversed out on Dark Grey
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2.7 Unauthorized Usage A. DO NOT outline the logo B. DO NOT use drop shadow C. DO NOT treat with emboss effect digitally D. DO NOT tilt logo on an angle E. DO NOT stretch the logo
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F. DO NOT compress the logo G. DO NOT show upside down H. DO NOT change the logo configuration I. DO NOT show logo smaller than the minimum size
A
B
C
D
E
F
G
H
I
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2.7 Unauthorized Usage J. DO NOT use gradient on the logo K. DO NOT show logo as an outline L. DO NOT use inner glow M. DO NOT use the logo on gradient background
N. DO NOT use unauthorized color O. DO NOT crop the logo P. DO NOT change the weight of the logo. Q. DO NOT use a two color treatment on the logo. R. DO NOT change the size ratio
J
K
L
M
N
O
P
Q
R
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3.0 Typography & Brand Graphics 3.1 3.2 3.3 3.4 3.5
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Primary Typeface Secondary Typeface Type Hierarchy Secondary Graphics Photography Guideline
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3.1 Primary Typeface The primary typeface used in application is Base Mono Wide OT Regular by the foundry, Emigre. This type is used mainly for heading and the stationery system.
BASE MONO
A A A 26
WIDE THIN
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
WIDE REGULAR
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
WIDE BOLD
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
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3.2 Secondary Typeface The secondary typeface used in application is Akzidenz Grotesk. This typeface is allowed for primary when legibility becomes an issue (i.e. in smaller applications).
AKZIDENZ GROTESK NEXT
A A A
REGULAR
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
MEDIUM
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
BOLD
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
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3.3 Type Hierarchy ADVERTISEMENT MATERIAL
Base Mono Wide Regular Headline 60/64 pts
Akzidenz Grotesk Next Medium Subhead 24/28 pts
Akzidenz Grotesk Next Regular Body Text 10/14 pts
In advertisement material, use the following form of type hierarchy. Follow the type treatment using the point size and leading.
HEADLINE Subheads and other important statements Cumque conserf eratur, que paruptur, nemporia pel exce restet elenita solesti atectur, nobiti non conestibus, com ut qui coratet ad que is quo et fuga. Nam volutatquae proc omnimolo officiet, temporporita qui optatios Escimeniet. Vit, consectus volor aliquo dunt voles aboribus ad que non sequis platur minimus repudicatia cusant et que ommolo leste coria int litiur re reseque none nobis rereprae quaeac volo modi aut ut offici aut eatiatur, totat et laudand itibus. Aut liquae expella boribus earciati omnia porit mincto. Ducias dernatis is sapidendant fuga. Nam viti sequiandem facepre consed eosa nat peris aut qui dio optatat molorer sandionse ped eos nullam dignam, qui unt inverum elici dni tam ustrum expedignis enda cuptat volupisti cus modipst aut adi intores cipsunt quisint doloressi apiscienis percioac loressin estium eum unt quae. Nate alit utet, toria quam re sediscid que la exceptatem eos am, quas etus eos de as.
Akzidenz Grotesk Next Regular Caption 9/12 pts
Caption lightly here for the Graphic Standards Manual 2021.
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3.3 Type Hierarchy STATIONERY SYSTEM
Base Mono Wide Regular Headline [Name], Tagline 12/16 pts
Akzidenz Grotesk Medium Information Detail 10/14 pts
Base Mono Wide Regular Letterhead Body Text 10/14 pts
The stationery system makes use of different typeface for application. Use the following form of type hierarchy. Follow the type treatment using the point size and leading.
HEADLINE
Insert Address, Phone Number, Email Here.
Cumque conserf eratur, que paruptur, nap pel exce restet elenita solesti atectur, ti non conestibus, com ut qui coratet ad is quo et fuga. Nam volutatquae procomn officiet, temporporita qui optatios Escid niet. Vit, consectus volor aliquo duntde les aboribus ad que nonsequis platur min imus rudicatia cusant et que ommolo le coria volo modi aut ut offici aut atitur, totat laudand itibus.
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3.4 Secondary Graphics THE SQUARES
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The small boxes mimic the look of the Costes from the outside; it embodies buildings of Paris; reflecting all of Paris (its eclecticism and spirit) in a space. The squares however, may be used with flexibility. It may be slide over and even bleed to the edge.
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3.4 Secndary Graphics The small boxes mimic the look of the Costes from the outside; it embodies buildings of Paris; reflecting all of Paris (its eclecticism and spirit) in a space. The squares however, may be used with flexibility. It may be slide over and even bleed to the edge.
Horizontal Shift
The small boxes mimic the look of the Costes from the outside; it embodies buildings of Paris; reflecting all of Paris (its eclecticism and spirit) in a space. The squares however, may be used with flexibility. It may be slide over and even bleed to the edge.
Vertical Shift
↘
↘
TIME LOSES ALL MEANING AT THE COSTES
TIME LOSES ALL MEANING AT THE COSTES
TIME LOSES ALL MEANING AT THE COSTES
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3.4 Secondary Graphics THE SQUARES: PHOTOGRAPHY FILLED
The square can also be used with photography within each box. This is used in the paper system. Follow the steps below to achieve the look desired.
↘
1. Choose Image Image requires a specific subject (e.g. a statue).
2. Remove Background Erase the image background in Photoshop. Export the file as PNG format. If the image subject is colorful, change it to black and white.
3. Import the image into one of the squares in inDesign. The squares exist as separate shapes in inDesign. Drag the PNG into one of the squares.
5. Add screen effect. Change the box to red. Double click on the image imported within the box, so inDesign selects the PNG file. Go to the Effects panel. Change the blending mode to screen. Change the box color to red.
6. Apply steps to all the squares and change the scale and cropping. Create a variety of sizes of the subject in each square. Attempt to show different parts of the subject.
↘
4. Resize the image. Blow up the image and crop it to one part of the subject. The subject on the squares on the left column has to be closer to the right margin of those squares, and vice versa for the right column.
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3.4 Secondary Graphics The subject image is cropped in different ways with a variety of sizing as well. This creates a more dynamic composition for the squares secondary graphic.
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Using the gradient map treatment just in Photoshop is permitted when necessary.
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3.5 Photography Guideline Gradient map can be applied in Photoshop to images that are in nature more architectural or related to parts of the hotel (including art pieces and statues in the hotel). This treatment is used as secondary graphic for application usage. Use the primary red of the Costes and white.
↘
↘
↘
LOCATION PHOTOGRAPHY
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3.5 Photography Guideline Campaign photography that are shot with models in the hotel has to embody the hotel brand, keeping in mind the keywords: Off-kilter, charming, unique, eclectic, luxurious. Campaign photography guideline is used for campaigns treated with the squares or for social media contents, alongside candids from events.
PORTRAIT PHOTOGRAPHY
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4.0 Application Usage
4.1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 4.9 4.10 4.11 4.12 4.13 4.14 4.15 4.16 4.17 4.18 4.19 4.20 4.21 4.22 4.23 4.24
Hôtel Costes
Stationery System Letterhead Envelope Business Card Window Signage Hotel Entrance Hotel Lobby Hotel Pool Do Not Disturb Sign Room Pillow Room Key Card Tea Cup & Tea Plate Toiletries Hotel Slippers Bath Towel Costes Car Tour Bus Metro Station Signage City Billboard Website Front Desk Uniform Tote Bag Costes Playlist Costes Cologne
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4.0 Stationery System The stationery system includes an 8.5 x 11 inches letterhead, a size 10 envelope, and a business card. It is the most widely used communications tool at the Costes.
TIME LOSES ALL MEANING AT THE COSTES
+33 14244 5000
7 Rue de Castiglione, 75001, PAR, FR.
contact@hotelcostes.com
Ms. Hannah Cole 52 Rue Des Fleurs 33500 Libourne France 20 July 2021 Dear Ms. Hannah, Repurposing branding to create a better experience for customers. Generate first party data yet come up with a bespoke solution. Taking below the fold but make the logo bigger. Lead a holistic approach and possibly target the low hanging fruit. Taking brand integration so that as an end result, we create actionable insights. Generating user engagement with the possibility to re-target key demographics. Targeting brand integration but improve overall outcomes. Considering key demographics while remembering to get buy in. Create the best user experience and then use the best practice. Amplifying brand ambassadors with a goal to be on brand. Synchronizing key demographics with the possibility to be transparent. Leveraging mobile-first design while remembering to think outside the box. Building above the fold with the possibility to be transparent. Leading scrum masters to, consequently, improve overall outcomes. Executing benchmarking yet come up with a bespoke solution. Considering bleeding edge so that as an end result, we will be on brand.
Sincerely,
Anna Smtih General Manager
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4.0 Stationery System The system is a formal representation of the brand used for both internal and external audiences. Each component of the business system (individually and as a whole) supports the impression of a unique visual identity.
Time Loses All Meaning At The Costes
7 Rue de Castiglione, 75001, PAR, FR.
contact@costes.com
Ms. Hannah Cole 52 Rue des Fleurs 33500 Libourne France
TOMMY POUCHIER GENERAL MANAGER
tommy@costes.com / +33 22832 2313
Hôtel Costes
+33 41340 2902
7 Rue de Castiglione, 75001, PAR, FR.
contact@costes.com
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4.1 Letterhead The overall size of the letter is 8.5 inches wide by 11 inches high. The papers have an extremely subtle cloud texture.
8.5" +33 14244 5000
7 Rue de Castiglione, 75001, PAR, FR.
contact@hotelcostes.com
Ms. Hannah Cole 52 Rue Des Fleurs 33500 Libourne France 20 July 2021 Dear Ms. Hannah,
11"
Repurposing branding to create a better experience for customers. Generate first party data yet come up with a bespoke solution. Taking below the fold but make the logo bigger. Lead a holistic approach and possibly target the low hanging fruit. Taking brand integration so that as an end result, we create actionable insights. Generating user engagement with the possibility to re-target key demographics. Targeting brand integration but improve overall outcomes. Considering key demographics while remembering to get buy in. Create the best user experience and then use the best practice. Amplifying brand ambassadors with a goal to be on brand. Synchronizing key demographics with the possibility to be transparent. Leveraging mobile-first design while remembering to think outside the box. Building above the fold with the possibility to be transparent. Leading scrum masters to, consequently, improve overall outcomes. Executing benchmarking yet come up with a bespoke solution. Considering bleeding edge so that as an end result, we will be on brand.
Sincerely,
Anna Smtih General Manager
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4.1 Letterhead The figure below shows the measurement of all the space relations that are used in the letterhead. Follow precisely when reproducing materials.
0.6"
0.3"
0.3"
0.3"
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4.2 Envelope The overall size of the envelope is 9.5 inches wide by 4.15 inches high. All stationery should be printed full color on the textured cloud paper.
9.5" 7 Rue de Castiglione, 75001, PAR, FR.
4.125"
Time Loses All Meaning At The Costes
contact@costes.com
0.9"
Ms. Hannah Cole 52 Rue des Fleurs 33500 Libourne France
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4.2 Envelope The figure below shows the measurement of all the space relations that are used in the envelope. Follow precisely when reproducing materials.
0.6"
0.3"
0.3"
0.3"
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4.3 Business Card The overall size of the card is 3.5 inches wide by 2 inches high. All stationery should be printed full color on the textured cloud paper.
3.5"
TOMMY POUCHIER
2"
GENERAL MANAGER
tommy@costes.com / +33 22832 2313
+33 41340 2902
7 Rue de Castiglione, 75001, PAR, FR.
contact@costes.com
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4.3 Business Card
0.15" 0.15"
tommy@costes.com / +33 22832 2313
0.15"
0.15"
TOMMY POUCHIER
0.15"
The figure below shows the measurement of all the space relations that are used in the business card. Follow precisely when reproducing materials.
GENERAL MANAGER
+33 41340 2902
7 Rue de Castiglione, 75001, PAR, FR.
contact@costes.com
TIME LOSES ALL MEANING AT THE COSTES
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4.4 Window Signage The new logo Costes is shown on the window in gold. The emblem of the Costes that now exists as a lock-up with the logo gives a new dynamic to the brand presence of the Costes Hotel.
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4.5 Hotel Entrance The hotel entrace features the secondary graphics, featuring the different cropping and rotation of a statue that exists in the Costes. It is a representation of the new Costes branding; pushing further our new visual system for our visitors to feel and see.
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4.6 Hotel Lobby The hotel lobby features a metallic logo in grey on dark red. As the lobby serves as an important area for the introduction of the Costes, the logo is presented as a larger, bolder entity.
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4.7 Hotel Pool The Costes emblem is used on the tile of the swimming pool. The image shows a bird-eye view of the pool with a subtle touch of the gold logo.
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4.8 Do Not Disturb Door Sign The only application that allows for a separation of the emblem and the wordmark is when it is a die cut. For instance, the Do Not Distrub Door Sign.
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4.8 Do Not Disturb Door Sign The two images show the front and back of the Do Not Disturb Sign. It features the portrait photography on top and makes use of Base Mono as the headline typeface.
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4.9 Room Pillow The room pillow features an embroidery of the Costes logo in red on the right corner. It is important that the logo plays as a smaller entity on this application to make it more subtle.
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4.10 Room Key Card The room key card features a location photography with the gradient map treatment. The key card case on the right side features the squares. The logo is set in white.
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4.11 Tea Cup & Tea Plate The tea cup features the Costes logo set in red. The cup is available in the pantry of each room, as well as in the Costes Cafe.
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4.11 Tea Up & Tea Plate The tea plate features location photography with the gradient map treatment. It is available in each room and the Costes Cafe, alongside the tea cup.
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4.12 Costes Magazine Each room is provided with the ‘Life At Costes’ Magazine. Additionally, the idea of Life At Costes is used as a social media campaign. A section of Life At Costes also exists in the hotel’s webpage.
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4.13 Toiletries Each room is provided with a 3-in-1 shampoo, body wash, bath foam bottle that is placed within a box.
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4.14 Hotel Slippers Each room features two pairs of hotel slippers. The slippers make use of a white on white embroidery of the Costes logo.
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4.15 Bath Towel Each room features bath towels of a variety of sizes. The towels make use of a white on white embroidery of the Costes logo.
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4.16 Costes Car The Costes Car is used for promotional, as well as logistical purposes. Guests are able to rent the car on special occassions or for airport pick-ups.
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4.16 Costes Car The car embodies the soul of the hotel with a unique approach to car design. The treatment may be extended to different series and types of cars.
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4.17 Tour Bus The bus is available for the hotel guests every day for a tour around Paris. It is also available for group airport pick-ups. Moreover, it is used for promotional purposes as well.
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4.17 Tour Bus The bus embodies the soul of the hotel with a unique approach to car design. The treatment may be extended to different series and types of cars.
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4.18 Paris Métro Station Signage The Paris Métro Station Signage features the brand’s secondary graphic, the squares. It features a QR code that leads to the Costes website.
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4.19 City Billboard Placed all over Paris, the city billboards feature the brand’s secondary graphic, the squares. They feature a QR code on each poster that leads to the Costes website.
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4.20 Website The Costes website encompasses a wide range of section, including story, shop, music, hotel decors, restaurant & bar. The squares are used not only as a secondary graphic, but also as a hamburger menu.
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4.20 Website The website is responsive and can be accessed through (but not limited to) desktop, tablets, phone, smart watch and laptops.
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4.21 Front-Desk Uniform The Costes front desk uniform is a red suit, with black ties and a hat. The name tag is a golden pin with the Costes logo and the employee’s name.
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4.22 Tote Bag The tote bag features a secondary graphic of the squares: photography filled. It is available for purchase in the Costes Shop, but is complimentary to guests who are staying.
Hôtel Costes
Graphic Standard Manual 2021
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4.23 Costes Playlist Music remains as a huge part of the Costes hotel identity. The Costes has a system for its LP covers with every playlist released. The LPs are available for purchase at the shop.
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Hôtel Costes
Graphic Standard Manual 2021
4.24 Costes Cologne The Costes Cologne is an effervescent and unisex cologne that is available for purchase at the costes store. It comes in a box which features the hotel’s secondary graphic treatment.
Hôtel Costes
Graphic Standard Manual 2021
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Hôtel Costes
Graphic Standard Manual 2021
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Graphic Standard Manual 2021
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Hôtel Costes
Graphic Standard Manual 2021