musĂŠe du louvre
Brand Book
May 2018
For world citizens
This brandbook outlines the resources available in the Louvre Museum for studying the history of marketing and publicity at the Louvre, particularly the Louvre’s corporate identity/brand and its graphic language. These include posters and other printed literature: advertisements for exhibitions, displays and events, office stationery, campaigns and some information on the Louvre logo and signage.
مكيلع مالسلا
hola
你好
Здравствуйте
hel
bon Welcome 14 16 18 20
mission history past future
oi
Identity 30 34 36 38 40
logo color typography iconography photography
안녕하십니까
今日は
guten tag
ciao
lo.
jour. Visual 48 49 50 54 56 58 60 62
stationaries ticket brochure app website posters gift signage
Future 70 72
halo
campaign oppor tunity
01
Welcome
Heir to the century of the Enlightenment and the French Revolution, the Louvre was quickly accepted as the “museum among museums;� and since then it has remained a model and a recognized authority.
01 / Welcome
mission
The Louvre: An Old Institution Looks to the Future Formerly a royal palace, the Louvre has embraced the history of France for eight centuries. Since its opening in 1793, its colletions— among the finest in the world—span several thousands of years and a territory that extends from America to the confines of Asia. Divided among eight departments, these collections feature works admired throughout the globe, including the Mona Lisa, the Winged Victory of Samothrace, and the Venus de Milo. With nearly ten million visitors in 2012, the Louvre is the world’s most visited museum. In keeping with the universal scope of its vocation, the Louvre enjoys relations with over seventy-five countries around the world. Its activities serve to strengthen its bonds with its collections’ countries of origin, to gain a better understanding of overseas visitors, and to reach out to those who are unable to travel to Paris. Over the years, the Louvre has remained true to its missions of promoting encounters between art collections and visitors.
14
01 / Welcome
history
1550 The Medieval
1190 16
The Renaissance
King Philippe Auguste built fortress for protecting the city.
Catherine d’Medici improved the comfort levels at the Louvre, which is by historical accounts a chaotic, smelly place.
The Classic
1672
1793 The Revolution
Under the reign Louis XIV, the Louvre undergoes an intensive series of renovations, resulting in the palace today.
Muséum Central des Arts de la République opened.
1989 The Empires
1862
The Modern
As modern curating and trading develop, from Egyptian antiquities to Renaissance art and contemporary paintings, the Louvre is becoming a behemoth center of arts and culture.
The Louvre’s glass pyramid built by Chinese architect I.M. Pei is inaugurated and serves as the new main entrance.
The New
2014
2018 The Future
The Louvre Abu Dhabi organized a major exhibition entitled “Birth of a Museum” to unveil the new museum’s collections to the public.
17
01 / Welcome
past
Past is past
18
Strengths
Weakness
-Globally, the Louvre Museum has great reputation and popularity. -The Louvre Museum holds the largest art collection in the world.
-Facilities in the museum are aged and hard to restore to welcome modern visitors. -Long lines and poor signage system make visitor experience worse.
Opportunity
Threats
-An updated, modern brand image will help the Louvre gain more visitors. -Partnership with like-minded brands will get more impact and engagement with audience.
-News about terrorism and criminals scare lots of international tourists away. -The change of tastes towards more modern and contemporary works may affect the number of visitors.
01 / Welcome
future
Let’s Talk About The New
“a public space likely to interest those in the know without ceasing to amuse the curious, since the museum belongs to everyone, and everyone has the right to enjoy it.” ----- Vocation, Muséum Central des Arts de la République
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01 / Welcome
future
A Museum for People
More than just a meeting place, it is now clearly a forum for sharing, open and generous, where the exceptional is accessible to all. Everyone will enjoy the experience with following and discovering their interests.
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23
“We had a lot of difficulty in getting the French to accept the pyramid. They thought we were trying to import a piece of Egypt until I pointed out that their obelisk was also from Egypt and the Place des Pyramides is around the corner. Then they accepted it. The pyramid at the Louvre, though, is just the tip.� ----- I. M. Pei
02
Identity
After refining the Louvre’s visual identity, the museum is now able to communicate with visitors in more direct, elegant, friendly and persuasive way.
02 / Identity
logo
Logo Mark
30
Logo Variation
31
02 / Identity
logo
Incorrect Usage
32
Use the logo in one color other than black or white
Change a single element inside the logo
Alter the letter arrangement of the logo
Add a background color to the logo
Stretch, skew, or otherwise distort the logo
Create a vertical version of the logo
Clear Space
Always abide by the rules of clear space when using the logo. It is important that no other visual elements interfere with the logo clear space so that the Louvre brand is clearly visible on all collateral. x
x = x-height
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34
Rembrandt’s Tomato R217 G171 B140 C14 M34 Y45 K0
Picaso’s Violinist
R133 G102 B133 C51 M64 Y29 K6
R154 G69 B133 C92 M84 Y18 K4
R204 G69 B69 C14 M87 Y75 K3
02 / Identity
color
Primary & Secondary
Monet’s Church
Durer’s Paper
R148 G97 B51 C33 M61 Y89 K21
R242 G176 B186 C2 M37 Y13 K0
Caravaggio’s Room Bosch’s Garden
Botecelli’s Sky Vermeer’s Garment
R178 G166 B176 C31 M32 Y22 K0
R87 G99 B148 C75 M64 Y19 K3
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02 / Identity
t ypeface
Minion Pro
Louvre Museum Minion Pro Medium Italic
Make it Your Louvre
Minion Pro Regular
Make it Your Louvre
Minion Pro Display
Make it Your Louvre
48pt
24pt
Neuzeit Grotesk
Louvre Museum Neuzeit Grotesk Light
Make it Your Louvre
Neuzeit Grotesk Regular
Make it Your Louvre
Neuzeit Grotesk Bold
Make it Your Louvre
48pt
24pt
02 / Identity
icon
Signage
3 in
3 in
38
Restaurant
Restroom
Cloakroom
Cafe
Audio Guide
Stairs
Gift Shop
Elevator
39
02 / Identity
photo
When ancient palace meets modern aesthetics
40
41
“The Louvre is the book in which we learn to read. Time and reflection, moreover, little by little modify our vision, and at last comprehension comes to us.” ----- Paul Cézanne
03
Visual
The following pages contain examples of how the design system work in practice. The use of all design elements repeatedly and consistently reinforces the design style, essentially creating the Museum’s visual language.
03 / Visual
stationery
48
ticket
4.5 in
2 in
49
03 / Visual
brochure
28 in
7 in
exibit hall in the museum
50
exhibit calendar
exibit dates
03 / Visual
brochure
The design of brochure is inspired from the architecture of the Louvre Museum. Visitor can get basic infomation of specific exhibition, interact with it, and display it at home as a souvenir. Here’s an example of current exhibition. The content could be varied based on different needs, like events, floor plans and etc.
52
53
03 / Visual
mobile app
54
03 / Visual
website
56
57
03 / Visual
posters
1.375 inch
72 pt Neuzeit Grotesk Bold
1.88 inch
Exhibition Title
18 pt Neuzeit Grotesk Regular
Enter short description of the exhibition here 43 pt Neuzeit Grotesk Regular
1.1 inch
58
Gallery location in the museum 11 in
106 pt Neuzeit Grotesk Light
0.25 inch
1.21 inch
Exhibition Duration
0.5 inch
17 in
59
03 / Visual
gif t
60
61
03 / Visual
signage system
The new signage system will be placed widely inside the museum and several directory spots around the Pyramid, palaces and gardens. Visitors will easily find their destinations and enjoy their trip.
62
63
“The sun has only ever shone for me in France (it certainly did that!). I have got used to beating the streets of Paris, happy beyond words dreaming of a life 125 years long - with the Louvre radiant in the distance. � ----- Marc Chagall
04
Future
With the spirit of innovating, Louvre looks forward to joining and leading the conversation of art and the ongoing renaissance.
04 / Future
campaign
Make It Your Louvre
The following pages contain three essential parts that would be used in an advertising campaign. Other elements could be added according to different needs, such as programs, exhibitions and events. They all should follow the museum’s visual style. The campaign “Make It Your Louvre“ will be launched in May 2018. Visitors can customize their own trips in the Louvre based on their interests and situations.
70
Prints Partnership In-App
New Direction & Excitement
Press Release
Awareness & Incentive
Outdoor Posters around Paris (streets & stations) Partner with Air France, Charles de Gaulle Airport and etc.
Events Other Promotion
Plan your visit to Louvre in TripAdvisor App
Experience & Entertain
Communication & Loyalty
International Media: BBC, CNN, NYT, RTL National: Le Monde, Les Echos City: Le Parisien, Liberation
Interactive
Outdoor screens for trip planning
Ambient
Writing on the wall “I want to see___in the Louvre“
Social
Post “I want to see___in the Louvre“ on Twitter
04 / Future
opportunit y
72
Partnership Air France Lufthansa Airline Delta Air Lines British Airways Charles de Gaulle Airport Heathrow Airport Amsterdam Airport Schiphol Frankfurt Airport Eurail
Collaboration The Metropolitan Museum of Art British Museum Vatican Museum Victoria and Albert Museum Hermitage Museum
Expansion Kyoto, Japan Montreal, Canada Portland, United States Melbourne, Australia Jerusalem, Israel
Crossover & Support Children art education Global art events Documentary & Filmmaking Art and Tech Activities
opportunit y
Visitor Customization
opportunit y
Airport Event
opportunit y
Interactive Trip Planner
Next time, make it your louvre.
Copyright 2018 Sheila Guo All content for “The Louvre Museum Brandbook� was conceived, designed, and produced by Sheila Guo. Writing and edited supplemented by Sheila Guo. Photography provided by Sheila Guo. Design Consultation Roger Muller, ADV 370 Brand and Branding Academy of Art University Some of the photographs and images were downloaded from Pixabay and are used in accordance with the Creative Commons License the book is a non-commercial work produced as a student project for educational purposes, and I such is considered a derivative work under the Fair Use Clause of the US Copyright Law. Designed in California.